Four Editions of Inside Moves photo by Todd
From TODD WALTON
Under The Table Books
“Sometimes the first duty of intelligent men is the restatement of the obvious.” George Orwell
A few weeks ago I had an inquiry about the movie remake rights to my novel Inside Moves. I replied to the inquiry (I do not own those rights) and then burned some sage and prayed to the gods of cinema to please make a second film from my novel. And though a remake is highly unlikely, just the thought of a new iteration of Inside Moves took me back thirty-eight years to the making of the first movie and the many conflicts I had with the filmmakers about how that movie should be made.
The narrator of the novel Inside Moves, Roary, is disabled from wounds suffered while fighting in Vietnam. For the movie, made in 1979, the screenwriters changed Roary from war veteran to a man who attempts suicide by jumping from a tall building. He miraculously does not die from the fall, but is somewhat disabled due to his injuries. I fiercely opposed this change because I felt it undermined the veracity of the entire story, nor is it ever explained in the movie why Roary wanted to kill himself.
John Savage plays Roary in the movie, and though superb in the role, I didn’t find him credible as someone who wants, or wanted, to kill himself. But the moviemakers were shy of bringing Vietnam into the story and they loved the shock value of showing someone jumping from a tall building. To compound the wrongness of their idea, when they filmed that suicide-attempt scenes they blocked traffic on the streets around the tall building and a huge crowd gathered. That crowd appears in shots of Roary’s jump, though in the movie, Roary sneaks into a building, goes to an upper floor, and quickly jumps, so there would have been no witnesses, no crowd. Oops.
One of the things many people love about the novel Inside Moves is the generosity and kindness of Roary and the gang at Max’s bar, where most of the story takes place. And this generous spirit does infuse the movie. However, the screenwriters added an ending in which Roary does something so antithetical to his nature, so opposed to the message of the rest of the movie, I several times beseeched the director, Dick Donner, not to end the movie that way. I also spoke at length to John Savage, and he agreed the ending was terribly wrong. John was certain that when Donner saw a rough cut of the entire movie, he would not use the misguided ending.
But because the people making the film were spending a large part of the production budget staging and filming the ending scenes of the movie, I was not hopeful. I attended the filming of those scenes at what is now Oracle Arena in Oakland, and was deeply saddened by an ending that had nothing to do with my book or the rest of the movie they made.
A couple months before the movie was to be released, I was invited to attend a sneak preview in a huge theater in San Francisco. I brought several friends with me and we sat in the jam-packed theater with hundreds of other people, most of them unaware of what movie they were about to see.
This was my first time watching Inside Moves, and I could barely process what I was seeing. There were times when the audience howled with laughter, and there were moments when I could feel everyone in the theatre deeply connecting to the characters and the story.
Then came the final ten minutes of the movie. In the scene just before those scenes filmed at the Oakland arena, Roary and several characters from Max’s bar are on their way to attend Jerry’s first basketball game as a member of the Golden State Warriors. While the group is waiting for their bus to arrive, Roary encounters Ann, Jerry’s former girlfriend, a hooker, who knows nothing of Jerry’s success. The interaction between John Savage and Amy Wright in this scene is a brilliant enactment of a scene lifted verbatim from the novel. As Roary says goodbye to Ann and joins his pals on the bus, the music swells and EVERY PERSON IN THE AUDIENCE THOUGHT THE MOVIE WAS OVER!
Because it should have been. The audience began to applaud and cheer, and hundreds of people gave the movie a standing ovation. But wait. The movie wasn’t over. Alas, there was an implausible and wrongheaded revenge scene glued to the end of the film. So people sat back down, and all the excitement and good feelings drained from the theatre as the senselessly violent scene played and then the credits rolled.
Filing out, we heard dozens of people saying how wrong the ending was; and many people made that comment in the questionnaires accompanying the screening. Then we went to a pub full of people who had seen the movie, and everyone was talking about the movie—how good it was except for that terrible ending.
And I hoped the director and producers, who were all in attendance at that sneak preview, would see the wrongness of their ending and cut it. But instead they shortened the scene of the bus driving away with the gang from Max’s, and they brought up the announcer’s voice at the Oakland arena while Roary was getting on the bus, to insure the viewer understood the movie was not over yet, lest they miss the violent ending.
So if by some miracle the cinema gods do remake Inside Moves, I hope they allow Roary to be a man transcending the wounds of war, and they end the movie with a message of kindness and generosity, not vindictive violence.