Matialth Good concept, poorly executed.

Aneesa Wardle The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Sanjeev Waters A movie that not only functions as a solid scarefest but a razor-sharp satire.

Aryana Easily the biggest piece of Right wing non sense propaganda I ever saw.

aimless-46 Filmed on "The University of the Pacific" campus in Stockton, R.P.M. (political REVOLUTIONS per minute) at the time of its 1970 release was regarded as the worst of the "counterculture-revolution-on-campus" sub-genre of films. It has not improved with age and almost 45 years later is notable only for two good "Melanie" songs "Stop! I Don't Wanna' Hear It Anymore" and "We Don't Know Where We're Going" which play over three nice montage sequences of the President of fictional Hudson College coming and going to the campus Administration Building.Its fundamental problem (other than having hacks like Stanley Kramer as acting for-the-camera director and Erich Segal as writer) is that the focus is on adults rather than on students. Although casting an aging Gary Lockwood as the student leader meant than no viewer at the time imagined the film would ever have an authentic texture. Even the extras playing the sundry students look to be in their thirties; perhaps their list of demands included unrestricted access to the swimming pool in "Cocoon".The adults are Ann-Margret (Rhoda) and Anthony Quinn (Prof. F.W.J. 'Paco' Perez), whose performances simply do not complement each other in the few scenes they have together (blame Kramer's directing). Ann's big emotional scene midway through the film is an absolute mockfest moment. Poor Ann was one of those women who did not age gently but rather by plateau; she hit her first one in the late 1960's - almost overnight losing all her youthful glow. The idea was to make a 53 year-old professor seem hip because he lived with his 25-year-old graduate student, but the age disparity seems less between them than between Rhonda and a typical graduate student.Then again, what do I know? I'm only a child.

John Seal Unavailable on home video and absent from television for decades until a recent screening on Turner Classic Movies, R.P.M. stars Anthony Quinn as Paco Perez, a professor trying to get down with the kids on a strife-torn California college campus. Always one to sympathize with his students, Paco finds himself thrust into a position of authority after activists take over the school's administration building. The Board of Trustees names him President because the kids trust him, but he finds some of their demands hard to comply with, raising the question: how much revolution is too much revolution? Ann-Margret co-stars as Paco's grad student mistress (surely grounds for dismissal?), Paul Winfield and Gary Lockwood agitate the masses, and--in brilliant casting--an uncredited S.I. Hayakawa (himself a veteran of a student sit-in at San Francisco State University) appears as a semantics instructor. Quinn is very good standing in for aging liberal director Stanley Kramer, who probably felt lost at sea during the radical late sixties, but the film's Achilles' Heel is Eric Segal's screenplay, which is generally (though not unremittingly) awful.

Bolesroor I first read about "RPM" in a book on bad movies. The review made note of the dated premise and baffling slang. Anthony Quinn plays a college president stymied by the striking student body and hooked on Ann- Margret's striking human body. And the book was right. "RPM" is bad.Quinn is all wrong for this, but then, I never liked his face. So much of film is visual and Anthony Quinn's terribly inexpressive mug never conveys any emotion, never ever lets the audience in. It's not that he's bad looking- there are plenty of unattractive actors whose faces speak volumes- he just always looks exactly the same: mildly perturbed.Here he plays hipster professor Paco, who has to stare down the self-righteous protesters at a West Coast university. And of course he's hit on all sides by clichéd slang: "square," "copout," "establishment." But neither he nor the guerrilla student body seem particularly passionate about their causes... they're simply reading the script.Ann-Margret was still dripping with pheromones and raw sexuality at this point, and as a courtesy to all us edging males she shows us her exquisite breasts. Her character is a grad student and Paco's young lover, and she spends the vast majority of her screen time scrutinizing every aspect of Paco's hypocritical existence. Margret seems to understand how ridiculous and annoying her character is so she plays it with a wink to the audience... and her nipples go a long way toward helping us forgive her.But the real problem with "RPM" is the direction by Staley Kramer. It is lifeless. It is dull. It shows a complete and utter lack of understanding of the subject matter, the youth culture, and the issues of the day. It renders the movie a hollow and useless experience. Sometimes the book on bad movies is right.GRADE: D

JasparLamarCrabb Dull as can be. A terrific performance by Anthony Quinn not withstanding, Stanley Kramer's expose of college campus revolutionaries is a very bad movie. Quinn is a liberal Sociology professor promoted to college president to help squelch the political activities of students Guy Stockwell, Paul Winfield and their minions. Kramer infuses his film with absolutely nothing interesting. Instead of coming across as one of Hollywood's great progressives, this blunder makes him look like a very old fogie. Quinn is actually believable as a college professor and has great chemistry with sexy but smart coed Ann-Margret. However, very few in the supporting cast, aside from Ann-Margret, even register. Stockwell & co. are mired in pseudo-revolutionary chatter, throwing out the occasional dirty word while berating Quinn as just another square establishment figure. The didactic script is by Erich Segal, the genius who also concocted LOVE STORY.