I finally got a chance to see a (poor) print of this film today after wanting to see it for years. I could appreciate its originality and sophistication for the time that it was made, but I was left wondering just what the film was really trying to say. It worked more as a character study than a film. The theme of the cruel and impersonal big city seemed to be a recurrent one in the 1970's (much like "Midnight Cowboy"), and seemed to be a symbol for the lost individual trying to find meaning in life. I've never been able to believe Candice Bergen in any role I've ever seen her play, and this film is a good example. She's stiff and virtually emotionless in most of this, except for two scenes where her acting became so exaggerated that it was almost embarrassing; once where she laughs uncontrollably (more like shouts) when she is conversing with Peter Boyle and another at the end where she cries after a telephone conversation with her parents. They both sounded exactly the same, and were frankly kind of startling, leaving me wondering why the director allowed her to go so far and didn't ask for another take where she toned it down a little.The "plot" never really goes anywhere. T.R. seems vacant, zombie-like and sarcastic, and the flashbacks gave me the impression they were being intentionally inserted to make a point when the film would come to an end. They didn't. The scenes in the film could have been played in real time as they happened and it wouldn't have made any difference at all.There's some dialogue between Bergen and Caan in which she tells him that he "talks like a typewriter." I felt like this described a lot of the film; people don't talk or act this way, and I'm sure it looked great on paper. I can appreciate that this film portrayed a character and her experiences in a very different way for its time, but it didn't really seem to make a conclusion about anything.

T.R.Baskin (1971) is one of those orphan movies that Paramount would like you to forget. They don't seem the least bit interested in putting it on a DVD. You might still find it on Amazon as a download but the quality is poor. In 41 years, I can only remember seeing it once on television. It is time to write to Paramount to encourage them to release it on Blue Ray. They could release it as part of a Candice Bergen DVD set. Where else can you see Candice Bergen, Peter Boyle and young James Caan all in one movie? (10 lines of text? Really?) I was one of those lucky Extras used in the filming at O'Hare Airport. Being an Extra didn't pay much in those days but it was exciting. SR

This film is in some ways a guilty pleasure--it's occasionally hokey--but I like it because it reminds me of the wonder I felt on my first few visits to Chicago (I'm a small-town girl too). I eventually moved there, staying more than a decadebefore moving on to L.A.; my experience was, on the whole, much more positive than T.R.'s, but I can relate to her and to what she's going through. That's a good deal of this movie's appeal--the characters and the situations all have the ring of truth. Kudos to writer Peter Hyams and director Herbert Ross. T.R. may be lonely and lacking in direction, but she's also intelligent, feisty, and nobody's fool, and it's easy to understand how she feels as she tries to build an independent life and find personal and professional satisfaction. Candice Bergen's delivery of her lines is sometimes a bit stilted, but her performance is largely praiseworthy; so are those of the supporting cast, especially Marcia Rodd, James Caan, Peter Boyle, and Howard Platt (very convincing as a real jerk). The filmmakers also make good use of the Chicago setting, with shots of Carson's State Street store, the el, and other landmarks, and the movie's full of early-'70s atmosphere--the clothes, the music, the singles bars, and the fact that the modern women'smovement had a lot of work to do.

When people speak of Candice Bergen's acting triumphs pre-"Murphy Brown", they cite "Carnal Knowledge" and "Starting Over", yet this is her best performance. "T.R. Baskin" is a young woman from the sticks who relocates to Chicago and finds the Windy City an alienating place. This is one of the very few movies I've seen that shows the curious spectacle of someone living alone in a small apartment and not knowing what to do with themselves. Bergen walks around, looking at the walls. She's truly alone, and is not sure how to free herself from herself. James Caan and Peter Boyle have smaller roles as would-be suitors, and by the second-half the story has become more conventional--with a feminist slant. Still, for an hour or so, it showcases an appealing, somewhat naive and somewhat bitter female character trying to find her niche. There are sharp and funny observations here, and director Herbert Ross does some subtle work. An underrated little film. **1/2 from ****