dan-802 When this film was released sometime after the release of "Jaws" (although it was apparently shot before "Jaws"), the ad copy led me to believe (at age 12) that Richard Dreyfuss himself was the big Hollywood figure who had decided to do just pornos - brilliant pornos. I wasn't the only one, as I recall asking a Universal Studios tour guide if there would be a sequel to "Jaws" and which characters might return. When I asked about the Dreyfuss character, she awkwardly explained to me that Dreyfuss wasn't doing "these kinds of movies anymore." I saw "Inserts" later on Subscription TV when I was about 18. I don't know how edited it was, but I do recall nudity and some explicit descriptions of porn film-making. If you're looking for brilliant porno, or any kind of porno, look elsewhere. If you 1) like small talky art films, 2) are are fan of Richard Dreyfuss, 3) have an interest in the history of porn films (yes they existed before "Deep Throat") and are open to the other two items I mentioned, then you may find it of interest.

aimless-46 John Byrum's 1975 film "Inserts" owes a lot to Hitchcock's 1948 classic "Rope". Although it does not feature Hitchcock's experimental feature length continuous shot, it is nonetheless told in real time. The 115 minute running length is the time needed to tell the story as it is the entire duration of the action on the screen, nicely book-ended by shots of the main character alone in his Hollywood home playing the piano. There are no flashbacks or progression of time sequences, and the camera frame never leaves the immediate area of the great room of the house. Technically two cameras as this is one of those "film within a film" things; one on and one off screen. The main character (played by Richard Dreyfuss) is a gone-to-seed once famous movie director nicknamed "The Boy Wonder". It's never made entirely clear whether his is a self-imposed exile; only that he has great disdain for talking pictures. In the midst of the Great Depression he earns money cranking out smut films shot inside his doomed home; a house standing in the path of the so-to-be Hollywood freeway.Inside his Moorish style bungalow, all the Boy Wonder needs is a girl, a boy, a camera, and a bottle. This is a casual set with the director prowling around in his bathrobe and the swimming pool serving as his septic tank. And not unexpectedly there are a fair amount of self-reflexive movie references in the script; such as those about the "new Gable kid at Pathe" who wants The Boy Wonder to direct his next film. "Inserts" is odd and ambitious, more a play than a film; with dialog and intensity level worthy of "Dinner Rush" (2002). Watch how all scene transitions are signaled by the entrance or exit of a character speaking dramatic entrance and exit lines. The Boy Wonder's leading lady (played by Veronica Cartwright) is the first character to make an appearance. She's an airhead flapper with a heroin habit and a heart of gold. Cartwright is wonderful in this role, with a voice just slightly less irritating than the one Jean Hagen brought to her character in "Singin in the Raid". Voices that for obvious reasons were a better fit in the silent film days. Next to appear is the leading man, Rex the Wonder Dog (Stephen Davies), a gravedigger who will do anything to break into the movie business. Bob Hoskins plays Big Mac, a gangster with a plan to open up a chain of hamburger stands. He is financing The Boy Wonder's films and pays a visit to the set along with his new girl Cathy Cake (Jessica Harper). Cathy has come from Chicago to break into the talkies and is playing Big Mac to get a jump-start on her acting career. "Inserts" shares its main theme with "The Stunt Man", the blurring of a participants's ability to distinguish between the reality of life and the fiction being acted for the camera. Watch for the occasions where the actors get into a scene too far; even the "barely with a pulse" Boy Wonder gets too involved. A liquor bottle broken over their head quickly brings these characters back to earth, insert heavy symbolism here. Bynum also allegorically explores the dynamic of an artist who must create for an audience for whom he has total contempt. The Boy Wonder is equally contemptuous of smut viewers and mainstream commercial movie goers. Then again, what do I know? I'm only a child.

bjon When this film came out in the mid 1970's, I was more or less interested in its imagery of 1930's decadence. However, I'm not sure, but it probably would have repulsed me had I seen it in my early 20's. I actually thought that I would never get to see this little gem at all since it was so obscure. It was unavailable for years, but just recently I was able to get it on DVD. My more mature outlook on life some 30 years later made me appreciate the movie, though some of the sexually explicit scenes still made me wince. But after all was said and done, it more or less took the eroticism out of the concept of the pornography industry for me, and I was able to appreciate the black comedy of it all, highly sardonic, cynical, and sarcastic.I began to consider each and every one of the actors in this flick to be pioneers in the independent cinema genre. None of them were afraid to take the risks involved by appearing in something like this, most of all Dreyfuss, considering "The Apprenticeship of Duddy Kravitz" and others. Furthermore, they all became fairly successful afterward. I've seen other actors fall further into obscurity and then out of the picture completely after falling into the sexually explicit abyss.This movie satisfied my curiosity for the decadence that I was always curious about. I also noticed that it had a "Sunset Boulevard" quality; it projected the same message, the cruelty of Hollywood, where dreams can be made and lost simultaneously. It also depicted misplaced priorities, addiction and its consequences and greed.I was impressed that this was done simulating the three color process that was a forerunner to Technicolor. Set design was very well done; you only had one set, but there was a lot to look at in every corner, and they took you all over every corner. Costumes, well, there wasn't much there, save Boy Wonder's bathrobe and Rex, the Wonder Dog's infamous ascot.It's a must see, but maybe not suggested for the faint of heart.

Peter Hayes A washed up silent film director - Richard Dreyfuss - has fallen in to making quickie porn, but even this has its problems.I think Richard Dreyfuss is a good actor, but also a lucky one. For a shortish guy who often carries a bit of a paunch - and whose hair is in full retreat - he seems to very popular with casting directors. While often cast in Average Joe roles he can never rise above the quality of the material.Here he is given trash to work with and is left all at sea with it. A previous reviewer says he (Dreyfuss) wants to forget all about it - and I do too!This looks like a stage play written by a dope smoking school dropout and filmed by his best mate. The subject (porno) seems chosen to try and bring a bit of box office to a "Winter of my Despair" style production.There are two types of bad movie. Boring bad movies and inept bad movies. This is the closest I have ever seen to the two forms being present in one film. The whole production takes part in one room among people that have either given up on living or never had much interest in it in the first place. (Did Dreyfuss see something of his own demons in the script?) Unfunny lines about the mechanics of sex abound but it doesn't seems to want to be a black comedy - not even a failed one - it seems to be wanting to be taken seriously! The only worthwhile thing is seeing the youngish Bob Hoskins (playing a gangster) taking his first few steps in Tinseltown.Interesting only if you want to see the daddy of all bum-archers and maybe the worst "A film" of the 1970's. The writer/director - who we won't name and shame - later wrote Harry and Walter Go to New York to prove that he really was that bad, it wasn't just bad luck.