Smile 1975

Big Bob Freelander is a used-car dealer who also serves as the head judge of the Young American Miss Pageant held in Santa Rosa, California. The pageant operates under the steady gaze of Brenda DiCarlo, the executive director, while her husband, Andy, grapples with resentment and alcoholism. Andy faces a personal sense of obsolescence, as he begins to drift toward a humiliating rite at the local Jaycee chapter: kissing the anus of a dead chicken as part of a ritual that marks aging out of their circle.

The pageant atmosphere is a mix of glitter and pressure as thirty-three teenage contestants—each a local winner from across the state—arrive in Santa Rosa. They are sorted, instructed, and placed with host families that will shape their experiences in the days ahead. In the background, Little Bob—Big Bob’s son—focuses intently on the contestants’ applications, scrutinizing details like breast size, and he collaborates with friends to photograph the girls in various states of undress. The atmosphere grows tense as the camera lens comes to rest on the more vulnerable moments of the contestants.

Entering the scene is Tommy French, a Los Angeles-based choreographer who brings dance routines and a sharper dose of show business realism to the group. He clashes with Wilson Shears, the pageant’s producer, whose managerial instincts are practical, sometimes brittle, and who often reads the contestants with a blunt, sometimes caustic candor. The girls begin to give their interview responses to the judges, a process that exposes different personalities, ambitions, and insecurities.

Meanwhile, in the locker rooms, the pageant’s backstage dynamics take a darker turn. Little Bob snaps Polaroids of the contestants through a window while they shower, and his spying is finally interrupted when Wilson catches him and forces the young photographer to hand over the photographs to a police officer. The incident casts a pall over preparations for the upcoming performances and raises questions about boundaries, surveillance, and exploitation in a space meant for celebration.

On the Thursday preliminary show, a novice contestant named Robin Gibson emerges as one of the winners, earning support and practical advice from Doria Houston, a veteran of the pageant who offers tips on how to present oneself on stage. Her guidance includes practical tricks, such as how to adjust a smile for the cameras, which reflects the broader pressure contestants feel to present a flawless, marketable persona. The following morning, a tense moment occurs as Big Bob brings Little Bob to a psychiatrist, hoping to understand the disturbing fixation. Dr. H. Malvert offers a measured explanation, suggesting that Little Bob is simply a curious teenager exploring sexuality rather than exhibiting a deeper pathology.

That evening, during a pageant performance, trouble erupts as several contestants sabotage Maria Gonzales’s patriotic routine by damaging the stage sets. Around the same time, Andy visits the Jaycee chapter meeting, but he falters when forced to complete the initiation ritual. Upon returning home, he and Brenda argue, and a pistol is fired, grazing Brenda’s shoulder. The morning after, Big Bob visits Andy in jail to offer moral support and to advocate for old-fashioned American values. Yet Andy remains resentful, mocking him and accusing him of speaking like a Young American Miss.

Financial pressures intensify as the pageant becomes more expensive than anticipated. Wilson pushes Tommy to remove a ramp because it eats into seating, a decision that aggravates injuries to Doria and tests the performers’ ability to adapt on the fly. Tommy eventually agrees to reinstate the ramp and to cover the shortfall from his own fee, a move that underscores the fragile economics behind high-profile productions.

The pageant’s final night arrives with anticipation and strain. Brenda attends despite the lingering soreness from her shoulder injury, and the competition culminates with Shawn Christianson, a seemingly outsider to the other contestants, being crowned the state title winner after the judging concludes. The victory brings its own set of emotions and reactions, highlighting how the pageant can elevate some contestants while leaving others in the margins.

The morning after the finale, Robin wanders past Big Bob’s RV lot, where he is shown attempting to sell an RV to interested buyers. In a separate, quiet corner of the story, a policeman stationed nearby looks at a full-frontal nude photograph of Karen Love, Miss Simi Valley, hinting at the ongoing undercurrents of privacy invasion, fame, and the kinds of adult scrutiny that follow pageant life beyond the stage lights.

In this world of glitz and pressure, ambition and discomfort mingle in ways that test the contestants, the organizers, and the families connected to the pageant. The film traverses a landscape of mentorship and manipulation, celebration and risk, leaving a lasting impression of how competitive environments can reveal character—both laudable and deeply flawed—under the bright glare of competition.