R.P.M.

R.P.M., which stands for "Revolutions Per Minute", is a dramatic and politically-charged film from 1970 that features the acclaimed talents of Anthony Quinn, Ann-Margret, and Gary Lockwood. R.P.M. is a reflection of its time, displaying a rich tapestry of 60's rebellion, social change, and the ever-persistent generation gap.

Anthony Quinn assumes the lead role as Professor F.W.J. 'Paco' Perez, a liberal sociology professor at a California college, who finds himself in an unenviable position. He is appointed as an intermediary between the college's conservative administration and the radical students who have seized control of the administration building; a role made all the more complex by his personal bias and sympathy towards the student's causes.

Among this charged backdrop, the movie further layers on human depth and range by introducing a tangled love triangle. This relationship dynamic involves the bohemian Rhoda (played by Ann-Margret), a student and Paco's lover, and Rossiter (played by Gary Lockwood), the student leader of the rebellion. The romantic implications of this triangle inevitably adds more tension to the already volatile situation present on campus.

Directed by Stanley Kramer, a notable figure for socially conscious films, R.P.M. is a product of the time it was created. It attempts to echo the state of social unrest that marked the late '60s and early '70s in the United States, with student protests and radicalism constituting a significant portion of the public discourse. With this historical context, R.P.M. presents the audience with a fictional but vividly paralleled portrait of the social uprising during that era.

Quinn, as always, delivers an intense and impassioned lead performance as Professor Perez. Quinn's portrayal of a man torn between the establishment he's part of and the radical change he believes in, is nuanced, injecting depth and realism into the narrative. Ann-Margret makes an equally engaging impression as Rhoda. Her deft handling of the character — a free-spirited woman caught in the crossfires of political battle and personal desires — adds another layer of interest to the movie.

Lockwood, on the other hand, plays Rossiter, the earnest and intense student radical. His representation of the anger, idealism, and impatience common to many young protestors of the time amplifies the authenticity of the setting.

Kramer’s direction elegantly handles the dichotomy between the traditional and the radical. It spotlights the ideological clashes and points of concurrence as the characters struggle to find a resolution to their ideological differences. The movie is punctuated with scenes of student protests, sit-ins, and confrontations with law enforcement, enhancing the narrative's energy and lending an air of credibility to the simulation of student unrest.

R.P.M. is a story of rebellion, told through the lens of charismatic and deeply flawed characters. It discusses abstract political concepts in a way that is accessible, taking care not to trivialize or oversimplify the issues at hand. While it is undoubtedly a product of its time, the film’s core themes of activism, authority, and societal change resonate even today, making it a relevant watch for contemporary audiences.

While the film might not provide the audience with concrete solutions to the questions it poses, it necessarily stirs debate and introspection — encouraging viewers to take a more profound look at the conflicts it portrays, the inherent complexities of free speech, student activism, generational clashes, human values, and shades of morality. As such, it serves as a valuable critique of its era, a snapshot of a society in transition.

In conclusion, R.P.M. is a vividly-told story that captures a crucial moment in American history. It's a study on social and political unrest, showcased via compelling performances and a thoughtful narrative. If you're a fan of thoughtful dramas, or you have an interest in the dynamic of the late '60s and early '70s, R.P.M. could be a cinematic experience that's worth your time.