Michie Gleason’s 1981 interracial-romance drama Broken English became entangled in a bitter dispute between the first-time director and producer Bert Schneider, the influential figure behind films such as Easy Rider and Five Easy Pieces. Schneider reportedly insisted that his wife, Greta Ronningen, be cast in the film, an act of producer influence that placed personal relationships inside the creative process. He also pressured Gleason to add more sex scenes, pushing the picture toward a more explicit treatment than the director apparently intended. The conflict exposed the power imbalance facing a debut filmmaker whose project depended on a prominent producer and a commercial distributor.
The dispute continued after production ended. Lorimar, the company expected to distribute Broken English, refused to release the completed film because executives judged it insufficiently sexually explicit. Schneider sued Lorimar and won, but the legal victory did not rescue the movie commercially: it remained limited to festival screenings and was never given a normal release outside that circuit. The failure marked the end of Schneider’s career as a producer, leaving Broken English as both Gleason’s only feature film as a director and a striking example of how disputes over sex, casting control, and distributor expectations could effectively bury an independently made film.
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