FilmFanatic.org

Synopsis:
A young schoolteacher (Star Calloway) falls in love with a secret service agent (Carl Mahon) who tries to prove that a singer (Eunice Brooks) has been falsely accused of murder.

Genres, Themes, Actors, and Directors:

• African-Americans
• Falsely Accused
• Juano Hernandez Films
• Musical
• Romance

Response to Peary’s Review:
As Peary notes, “everyone should see at least one film by the notorious Oscar Micheaux — the most prolific black director of all time, and arguably the worst.” Peary’s seemingly random Micheaux selection for his book — 1932’s The Girl From Chicago — is indeed dreadful: heads and other body parts are routinely cut out of the frame; the musical interludes are boring; the storyline holds little interest; and, as Peary notes, “the acting by the light-skinned blacks is wretched.” Yet this and other Micheaux films are notable for having all-black casts at a time when Hollywood films were literally dominated by white actors, and are worth a brief look simply for historical purposes.

Redeeming Qualities and Moments:

• A representative film by the most prolific black director of all time
  

Must See?
Yes — simply because, as Peary notes, every film fanatic should see at least one film by Micheaux (though it doesn’t necessarily need to be this one).

Categories

• Important Director

Links:

• IMDb entry

Synopsis:
A police inspector (Donald Pleasence) learns about a colony of cannibals — descendents of 19th century laborers — who are living in the London underground. When the lone survivor (Hugh Armstrong) emerges to kidnap a new wife (Sharon Gurney), Pleasence and Gurney’s boyfriend (David Ladd) are quickly on his trail.

Genres, Themes, Actors, and Directors:

• Cannibalism
• Christopher Lee Films
• Detectives
• Donald Pleasence Films
• Horror
• Kidnapping

Response to Peary’s Review:
Despite its provocative premise, this cult horror film — which Peary concedes is “not as good as its reputation” — is surprisingly boring. There are far too many narrative loopholes — wouldn’t the fifth generation of underground laborers have tried to escape long before now? — and the fake movie gore quickly becomes tedious. Fortunately, the film is partially redeemed by its sympathetic “villain” (Armstrong) — the “brutish lone survivor” of a corrupt government cover-up who’s simply trying to continue his bleak existence; it’s easy to empathize with his plight.

Redeeming Qualities and Moments:

• Donald Pleasence as Inspector Calhoun
  
• A clever, politically scandalous premise

Must See?
No, though it’s worth a look simply for its status as a beloved cult film.

Links:

• IMDb entry
• Roger Ebert’s Review
• British Horror Films Review
• The Spinning Image Review
• Time Out Capsule Review

Synopsis:
When a working-class teenager (John Moulder-Brown) starts his first job at a bath house in London, he develops an enormous crush on his sexy, flirtatious, older co-worker (Jane Asher).

Genres, Themes, Actors, and Directors:

• Black Comedy
• First Love
• Obsessive Love
• Sexuality
• Teenagers

Response to Peary’s Review:
As Peary notes, this coming-of-age film is a “near masterpiece”, with “much to admire” — including “fine ensemble acting”, “excellent location work”, an “improvisational feel”, many “wonderfully funny moments”, and a “remarkably effective use of color to heighten dramatic tension”. I disagree with Peary, however, that the film’s tragic ending comes as “too much of a surprise”; it makes perfect sense, given director Jerzy Skolimowski’s depiction of teenage love as obsessive, hopeless, and increasingly out-of-control. Moulder-Brown is well cast in the lead role, and sexy Jane Asher (best known as Paul McCartney’s red-headed girlfriend) is note-perfect as the heedless Susan, who has no idea how devastating her flirtations are for her young co-worker.

Redeeming Qualities and Moments:

• Jane Asher’s spot-on performance as the “older” femme fatale
  
• A seamy, bleak depiction of London streets and bath houses
  
  
• Middle-aged Diana Dors using Mike to help her masturbate
  
• Mike ordering multiple hot dogs from a vendor on the street, in a vain attempt to escape notice
  
• Mike and Susan searching for a diamond in the snow — my new, favorite phrase to replace “needle in a haystack”!
  
• Effective use of colors to match the characters’ emotions (read Peary’s Cult Movies review for more on this)
  

Must See?
Yes, for its status as a cult favorite. Discussed at length in Peary’s Cult Movies (1981).

Categories

• Cult Movie

(Listed in 1001 Movies You Must See Before You Die)

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
Over the course of summer vacation, Paul (Barry Gordon) attempts to woo sexy Christine (Lada Edmund Jr.) away from her jock boyfriend Russ (Jon Voight).

Genres, Themes, Actors, and Directors:

• Comedy
• Coming-of-Age
• Jon Voight Films
• Rivalry
• Teenagers

Response to Peary’s Review:
This “very amusing” coming-of-age comedy (which Peary argues is “waiting for discovery”) belies the stereotypes of most teenage sex romps, emerging as an authentic look at teenagers testing out their interests and affections. The story isn’t linear; indeed, what we think will be the crux of the film (Paul getting Christine to go out with him) happens almost immediately, with the rest of the movie focusing on the complications of what happens next. Other than Jon Voight’s somewhat predictable performance as a “dumb, tough jock”, these characters are surprisingly three-dimensional: they’re conflicted about what they want, and getting what they want doesn’t necessarily lead to the satisfaction they were hoping for. Director Paul Williams uses clever editing to focus on Paul’s state-of-mind — check out the hilarious Romeo and Juliet scene, for instance.

Redeeming Qualities and Moments:

• Lada Edmond, Jr. as the surprisingly nuanced Christine
  
• Paul staring distractedly at an unaware Christine’s heaving bosom throughout an entire production of Romeo and Juliet
  
• Clever, humorous editing
  
• An honest portrayal of teenage rivalry, horniness, and confusion
  

Must See?
No, but it’s recommended.

Links:

• IMDb entry
• TV Guide Review
• NY Times Original Review
• Village Voice Review

Synopsis:
Five survivors of a nuclear holocaust must deal with their circumstances and each other.

Genres:

• Arch Oboler Films
• Nuclear Holocaust
• Post-Apocalypse
• Science Fiction
• Survival

Response to Peary’s Review:
As Peary points out, this groundbreaking film by Arch Oboler is known for being the first cinematic depiction of “the aftermath of nuclear warfare”. The pacing is a bit uneven, and some of the characterizations are unnecessarily cliched, but the film nonetheless possesses a true sense of pathos and despair. Especially notable is Susan Douglas’s nuanced performance as the shellshocked, pregnant housewife who must deal with the survival of both herself and her unborn child.

Redeeming Qualities:

• The first film to depict a possible nuclear holocaust
  
• Susan Douglas’s heartbreaking performance
  
• Scenes of post-nuclear cities devoid of all life
  

Must See?
Yes; this one is worth checking out.

Categories

• Historically Relevant

Links:

• IMDB entry
• SciFilm.org capsule review

Synopsis:
Free-spirited artist Joanna (Genevieve Waite) searches for love and happiness in 1960s London.

Genres, Themes, Actors, and Directors:

• Counterculture
• Cross-Cultural Romance
• Death and Dying
• Donald Sutherland Films
• Nonconformists
• Surrealism

Response to Peary’s Review:
As Peary points out immediately in his review, this dated film is “bad and self-indulgent”, but nonetheless has some redeeming qualities — namely its ability to capture the zaniness and existential yearnings of the 1960s, as well as addressing interracial romance and showing confident, successful Blacks at a time when this was still considered taboo by many.

Unfortunately, Waite’s grating baby-voice got on my nerves immediately, and her wiggish hair makes her look like Phyllis Diller; I’m not surprised she only made two more films after this.

Redeeming Qualities:

• Donald Sutherland as the dying, kind-hearted aristocrat Joanna befriends
  
• An eclectic mixture of surrealistic filming techniques
  

Must See?
No, but film fanatics will likely be curious to check it out.

Links:

• IMDB entry
• NY Times Original Review
• All Movie Guide Review

Synopsis:
When a kind governor in medieval Japan is sent into exile because of his compassion for the local peasants, his wife (Kinuyo Tanaka), son (Masahiko Kato), and daughter (Keiko Enami) set out to find him, but are kidnapped and sold into slavery and prostitution. Years later, his adult son (Yoshiaki Hanayagi) is determined to reunite his family.

Genres, Themes, Actors, and Directors:

• Escape
• Japanese Films
• Kenzi Mizoguchi Films
• Slavery

Response to Peary’s Review:
This “exquisitely photographed”, “sweeping epic” by Kenji Mizoguchi is a true masterpiece of mid-century Japanese cinema. As Peary notes, the film “brilliantly evokes brutal inhumanity” during the 11th century, “yet also is a beautiful character piece centering on mother and children.” Unfortunately, as with Rene Clement’s Forbidden Games (1952), Sansho may ultimately be too devastating to withstand repeated viewings — but it should definitely be seen once by all film fanatics.

Redeeming Qualities:

• Lovely cinematography
  
  
• The final, haunting reunion scene between mother and son
  

Must See?
Yes. This film is a classic of world cinema.

Categories

• Foreign Gem
• Important Director

(Listed in 1001 Movies You Must See Before You Die)

Links:

• IMDB entry
• Talking Pictures review

Synopsis:
Businessman Bill Compton (Dennis Patrick) kills his daughter’s drug-dealing boyfriend in a fit of rage, and befriends a working-class bigot (Peter Boyle) who admires what he’s done.

Genres, Themes, Actors, and Directors:

• Class Relations
• Counterculture
• Generation Gap
• Peter Boyle Films
• Susan Sarandon Films
• Vigilantes

Response to Peary’s Review:
Peary’s not a big fan of this scathing cross-generational commentary, arguing that the film supports the “contention of [the] era’s conservatives that all hippie girls were nymphomaniacs, that all long-haired young people took drugs and were untrustworthy, [and] that all members of the counterculture were vermin.” What he neglects to mention, however, is that all the characters in this over-the-top film are contemptible or pathetic in one way or another. As in Shoot (1976) and The Exterminator (1980), Peter Boyle’s Joe — a “loudmouth working-class stiff who has contempt for blacks, liberals, and hippies” — is portrayed as a gun-savvy veteran who’s itching to wreak damage on the “Others” in his community, just like he did back in Vietnam. After his chance encounter with Bill in a bar, Joe becomes a “Mephistopheles”-like figure, nurturing Bill’s “baser instincts” and encouraging their unlikely cross-class friendship. This eventually leads to the film’s tragic and violent denouement, which Peary refers to as “preposterous” and “hard-to-watch”, but which I see as a logical outcome of the tension that has been building since the very beginning of the film.

Redeeming Qualities:

• Peter Boyle as Joe
  
• Susan Sarandon in her first screen role (she already radiates a special kind of charm and beauty)
  
• A powerful, if occasionally cliched, look at clashes between class, age, and culture in the 1960s

Must See?
No, but it’s recommended.

Links:

• IMDb entry

Synopsis:
Carmilla (Ingrid Pitt), a 200-year-old lesbian vampire, pursues the beautiful young Emma (Madeline Smith) while being hunted by vampire-killer Baron von Hartog (Douglas Wilmer).

Genres, Themes, Actors, and Directors:

• Horror
• Lesbianism
• Peter Cushing Films
• Roy Ward Baker Films
• Vampires

Response to Peary’s Review:
As Peary suggests, the popularity of this gothic Hammer horror film — a relatively faithful adaptation of Sheridan Le Fanu’s novella — probably has more to do with the “surprising amount of female nudity” and overt lesbian interest than anything else.

Ingrid Pitt gives an alluring, “unabashedly physical performance” as Carmilla, with her “low-cut, transparent gowns” and insatiable lust for nubile female breasts. Carmilla’s emotional outburst upon “seeing a funeral procession and realizing all will die but her”:

… elevates her character a notch above all other vampiresses I’ve seen on film; her role may be campy, but Pitt imbues it with every possible ounce of human feeling.

Redeeming Qualities:

• Ingrid Pitt’s sexy portrayal as Carmilla
  
• A highly literate adaptation of Sheridan La Fanu’s novella

Must See?
Yes, simply as a prime example of lesbian vampirism on film. (See also Daughters of Darkness, 1971).

Categories

• Representative Film

Links:

• IMDb entry
• Moria Review
• British Horror Films Review