No More Excuses

No More Excuses is a 1968 avant-garde film, a clear testament to the experimental era of American independent cinema. Directed by Robert Downey Sr., this film is a melting pot of different styles and influences, reflecting the tumultuous socio-cultural landscape of the 1960s. Downey himself stars in the film, alongside Alan Abel and Lawrence Wolf. Despite its somewhat chaotic and non-linear narrative, the movie uses its visual language to weave together disparate, eccentric elements that make it a unique, memorable experience.

The film, essentially a collage of five separate but intricately linked vignettes, showcases Downey Sr.'s poignant satirical humor and his distinctive eye for capturing societal attitudes. The movie explores some of the vibrant and radical youth culture of the time, set against the backdrop of the civil rights movement, sexual revolution, and anti-Vietnam War sentiments.

One of the storylines occurs in New York City, involving a solitary 'wild man' wearing a baseball uniform. His appearance is quite contrasting, as this man who refers to himself as "The Last Civil War Veteran" roams around Manhattan's modern environments, looking utterly out of place. It's a satirical take on the awkwardness of unprocessed histories conflicting with contemporary realities, which Downey Sr. executes masterfully.

Another notable segment of the film involves Downey himself inviting the audience to an imaginary "playboy's pad" where he serves as the host to a series of increasingly absurd situations. The narrative then swings between several documentary film pieces. Alan Abel, a famous hoaxer and prankster, is featured in some of these sections, with scenes of an organization formed by Abel called "The Society for Indecency to Naked Animals" playing out on screen. It's a mock morality campaign urging people to put clothes on pets and livestock in the name of decency. Downey mischievously blends these hoax comments with actual interviews of people on the streets, generating unexpected comedy and confusion.

A third narrative thread involves a rather more serious tone as we witness the reenactment of the infamous date of John F. Kennedy's assassination. The film does not shy away from blending the tragic with the absurd. Intercutting between the JFK plot and a baseball game is a daring choice that precisely embodies Downey's unconventional filmmaking approach.

Another part of the movie introduces the viewer to a simulated dating situation where Downey, in a series of amusing sketches, reveals the ridiculous aspects of dating rituals. These satirical dates are juxtaposed against an interview with a "Schizophrenic Psychiatrist," represented by Lawrence Wolf, where he discusses the sexual revolution and the different perspectives surrounding it.

As for the technical aspects of the movie, No More Excuses is shot using an array of methods; combining black and white photography with color, 35mm with 16mm film, fiction with semi-documentary-style narratives. The camera work is daring and unorthodox, often placing the audience in the middle of the chaos, reflecting the '60s counter-culture spirit.

The film brims with anarchy, satire, and an abruptness that may feel disorienting, but upon deeper inspection, one can appreciate the thought-provoking commentary Downey Sr. is making about society, human nature, and the moral ambiguities of the time. It's a film that can be seen as a groundbreaking masterpiece of New York underground cinema or as a bizarre, anarchic experiment in filmmaking. Either way, it leaves an indelible mark.

No More Excuses is a unique mirror reflecting the tumult, absurdity, and resilience of the 1960s. It's the kind of movie that stands out from others in the same era due to its unrestrained, frenetic energy, and spontaneous storytelling. It's a piece of cinema history that will resonate with viewers who appreciate unconventional narratives and the art of visual storytelling. Its colorful, wild ride through the chaotic reality of the 1960s makes it an important piece of avant-garde cinema.