FilmFanatic.org

Synopsis:
Early 20th century inventors show off their wild and wacky creations in original archival footage.

Genres, Themes, Actors, and Directors:

• Documentary
• Inventors

Review:
If you’re hoping to see footage of the best unsung inventions of the last century, then this isn’t the movie you’ve been waiting for. If, however, you’re interested in watching oddballs with seemingly indomitable spirits who aren’t afraid to make utter fools of themselves on film, this little-seen documentary may be right up your alley.

You’ll witness more variations on primitive (and physically impossible) “flying machines” than you ever thought existed:

as well as demonstrations of some truly strange skills — which technically shouldn’t count as inventions, but are included here anyway, presumably for their wackiness factor. The documentary is comprised exclusively of archival footage (with voices dubbed in the silent clips), possesses no voice-over narration, and is accompanied by a surprisingly rocking soundtrack.

Redeeming Qualities and Moments:

• A woman swinging through New York while gripping a rope with her teeth
  
• An excellent soundtrack

Must See?
No, but this precursor to “America’s Funniest Home Videos” is worth watching at least once.

Links:

• IMDb entry

Synopsis:
Two privately owned ambulance companies in Los Angeles compete for clients.

Genres, Themes, Actors, and Directors:

• Allen Garfield Films
• Bill Cosby Films
• Car Chase
• Comedy
• Feminism and Feminist Issues
• Harvey Keitel Films
• Peter Yates Films
• Raquel Welch Films
• Rivalry

Review:
This strangely titled slapstick comedy revolves around an equally oddball premise: ambulance drivers who sit around hoping for catastrophe to occur so that they have some work. In the meantime, the movie’s ensemble cast (including Bill Cosby as “Mother”, Raquel Welch as “Jugs”, and Harvey Keitel as “Speed”) deal with various personal issues — including, naturally, romance, sex, and drugs. The most interesting aspect of the plot concerns big-chested Welch, who resents being called “Jugs” (can you blame her?), and must deal with obnoxious sexual harassment and blatant gender discrimination on the job.

Then again, one watches a film like this for the laughs, not the social commentary — and unfortunately, there are far too few to recommend it.

Redeeming Qualities and Moments:

• Bill Cosby as the wisecracking “Mother” of the crew
  

Must See?
No. Peary lists it in the back of his book as a Sleeper — and it may be of minimal interest to fans of Welch or Cosby — but it’s certainly not must-see viewing.

Links:

• IMDB entry
• Roger Ebert’s Review
• Time Out Capsule Review

Synopsis:
During the prehistoric era, an outcast member of the brutal Rock Tribe (Victor Mature) falls in love with a woman from the gentler Shell Tribe (Carole Landis).

Genres, Themes, Actors, and Directors:

• Carole Landis Films
• Cross-Cultural Romance
• Historical Drama
• Lon Chaney, Jr. Films
• Prehistoric Times
• Victor Mature Films

Review:
This “historical epic” by producer/director Hal Roach — infamously remade in 1966 with Raquel Welch — was the top-grossing film of 1940, and marked the debut of big-chested Victor Mature as a leading man. It received good reviews upon its release (with the New York Times referring to it as a “masterpiece of imaginative fiction”), and still has a devoted set of fans. For my part, however, I don’t understand what all the fuss is about, given that this “Land of the Lost” precursor is utterly lacking in historical veracity — dinosaurs and humans co-exist, to name just the most egregious error — and possesses an insipid storyline. At least it’s partially redeemed by some impressive action sequences and special effects.

Redeeming Qualities and Moments:

• Some exciting, well-done action sequences — particularly the erupting volcano
  

Must See?
No. While it holds historical interest as the most profitable film of 1940, this movie is really only a “must-see” for fans of cavemen flicks.

Links:

• IMDb entry
• NY Times Original Review
• SciFilm Review

Synopsis:
Three oddball prisoners (Tom Waits, John Lurie, and Roberto Benigni) escape through the Louisiana bayou.

Genres, Themes, Actors, and Directors:

• Black Comedy
• Deep South
• Escape
• Framed
• Misfits
• Prisoners

Review:
Jim Jarmusch’s character-driven prison-break film — a follow-up to his groundbreaking debut, Stranger Than Paradise (1984) — has many fans, but I’m not one of them. None of the three lead characters is especially appealing, and since we never get a chance to know any of them particularly well, we don’t really care what happens to them. Most annoying of all is Benigni’s chirpy immigrant “Roberto”; while many find his riffs in this film (i.e., the “I scream for ice cream” chant) hilarious, I found them insufferable.

Down By Law clearly bows towards surrealistic impulses, with several moments in the film conveniently defying reality: the three prisoners easily escape from their cell (we’re never shown how); they conveniently happen upon an Italian restaurant — with a friendly, beautiful, single owner — in the middle of nowhere; etc.

These leaps of logic are mildly amusing, and Robby Muller’s gorgeous black-and-white cinematography is a wonder to behold; but ultimately, these elements weren’t enough to keep my interest.

Redeeming Qualities and Moments:

• Beautiful black-and-white cinematography of the Louisiana bayou
  
• The opening tracking shot, accompanied by Tom Waits singing an infectious blues ballad

Must See?
No, though it’s of interest for its cult status, and as one of this maverick indie filmmaker’s best-known early films.

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

Links:

• IMDb entry
• NY Times Original Review
• Digitally Obsessed Review
• Time Out Capsule Review
• Washington Post Review

Synopsis:
After his face is badly scarred in a fire, a young immigrant watchmaker (Peter Lorre) resorts to a life of crime in order to pay for plastic surgery.

Genres, Themes, Actors, and Directors:

• Character Arc
• Disfigured Faces
• Evelyn Keyes Films
• Gangsters
• Immigrants and Immigration
• Peter Lorre Films

Review:
The best scenes in this little-seen Peter Lorre vehicle occur in the first 15 minutes, when Lorre’s immigrant Janos — acting like he belongs in a Frank Capra film — wanders the streets of New York with an enormous grin on his face, happily believing that success is just around the corner. This sunny exposition makes it especially difficult to watch our likable protagonist experiencing such relentless suffering: first from hideous scarring, then from an inability to get any kind of work at all, due simply to prejudice against his shocking appearance. (One can’t help feeling immense gratitude for our current workplace anti-discrimination laws…) Unfortunately, Lorre’s romance with a cloyingly sweet blind girl (Evelyn Keyes) — as well as his interactions with a bevy of stereotypical gangsters — drag down the second half of the film, with many scenes descending into unnecessary cliches. Whenever Lorre’s on the screen, however, we can’t help but be mesmerized by this tragic figure — a man who’s never desired anything other than the American Dream, but who finds himself foiled at every possible turn. Directed by the prolific Robert Florey, who made another film with Lorre a few years later: The Beast With Five Fingers (1946).

Redeeming Qualities and Moments:

• Peter Lorre’s sympathetic performance as Janos, a.k.a. “Johnny”
  
  
• George E. Stone as “Dinky”, Johnny’s first true friend in New York
  
• The opening scenes of the movie, in which the young and idealistic Janos falls in love with America
  
• Atmospheric cinematography
  
  

Must See?
No, though fans of Peter Lorre will undoubtedly want to check it out.

Links:

• IMDb entry
• Time Out Capsule Review

Synopsis:
A free-spirited parking lot attendant (Seymour Cassel) falls in love with a beautiful museum curator (Gena Rowlands) who resists his advances.

Genres, Themes, Actors, and Directors:

• Cross-Class Romance
• Gena Rowlands Films
• John Cassavetes Films
• Misfits
• Obsessive Love
• Romantic Comedy
• Seymour Cassel Films

Review:
Cassavetes’ contribution to the ubiquitous “misfits in love” genre isn’t particularly original, but features all the best elements of this iconoclastic director’s signature style: powerhouse performances by believably natural actors, excellent use of local settings, and plenty of unexpectedly zany moments. It’s lighter in tone than his heavier works (i.e., A Woman Under the Influence, also starring Rowlands), and is probably one of his most accessible films. Unfortunately, however, Minnie and Moskowitz suffers from an irredeemably schizophrenic attitude towards its characters: as soon as we start to like someone, he or she acts horribly and loses our sympathy. Seymour’s obsessive love for Minnie, for instance, is cute at first, but quickly becomes discomfiting as he stalks her and literally forces her into his car. This is someone we’re supposed to root for? And while Seymour’s mother (played with appropriately batty energy by Cassavetes’ real-life mother, Katherine) comes across as a harmlessly doting Jewish mother in her brief debut towards the beginning of the film, she unaccountably turns against her own son during a later dinner scene. Plus, these folks yell and beat up on each other like there’s no tomorrow — then quickly (and inexplicably) forgive each other. Ultimately, Minnie and Moskowitz makes for uneven viewing: you want to care about these characters (and in a way, you do), but at the same time you’re shaking your head in concern and disbelief, and feeling grateful that they’re not part of your immediate circle of friends.

Redeeming Qualities and Moments:

• Seymour Cassel’s no-holds-barred performance as the love-struck “Seymour”
  
• Gena Rowlands as the confused yet lovely Minnie
  
• Good use of Los Angeles locales and streets
  

Must See?
No, but fans of Cassavetes’ work will certainly want to check it out.

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• Time Out Capsule Review

Synopsis:
The fugitive manager (W.C. Fields) of a struggling theatre troupe deceives a wealthy aspiring singer (Jan Duggan) into believing he will give her a part in his play.

Genres, Themes, Actors, and Directors:

• Actors and Actresses
• Aspiring Stars
• Comedy
• Con-Artists
• Fugitives
• W.C. Fields Films

Review:
This little-seen W.C. Fields classic is dearly beloved by Fields’ fans, primarily because it’s the only movie to showcase the comedian’s origins as a traveling performer and juggler. While it contains several moments of genuine humor, however, I found the film disappointing as a whole; it’s not nearly as consistently amusing as his better-known titles. Only recommended for hardcore W.C. Fields fans.

Redeeming Qualities and Moments:

• An affectionate tribute to turn-of-the-century melodramas
  
• Fields doing his famous cigar-box balancing act
  
• Cleopatra Pepperday (Duggan) singing the interminable “seashell song”
  

Must See?
No. Though Peary lists this as both a film with Historical Importance and a Personal Recommendation (and quite a few contributors on IMDb seem to concur), I think it’s only must-see viewing for true W.C. Fields fans. Peary — who clearly IS a diehard Fields fan — nominates his performance here for an Alternate Oscar.

Links:

• IMDb entry

Synopsis:
An aging lesbian actress (Beryl Reid) worries that she’s being written out of her television series.

Genres, Themes, Actors, and Directors:

• Actors and Actresses
• Black Comedy
• Has-Beens
• Lesbianism
• Play Adaptations
• Robert Aldrich Films
• Susannah York Films

Review:
Robert Aldrich’s smart, well-acted adaptation of Frank Marcus’s satirical play received a notorious “X” rating when it was released (though this was reduced to an “R” just a few years later). Indeed, it’s easy to see why unsuspecting audiences may have been shocked, given the movie’s overt treatment of female homosexuality. Although the word “lesbian” isn’t uttered until two hours into the film, there’s no mistaking what kind of relationship these women have with each other; and for those who might still be unclear, the scene in a lesbian club makes it unambiguous.

Sensationalism aside, however, Sister George remains a surprisingly humorous tale of grandiosity and insecurity in show biz; we don’t always like or admire George’s actions, but we can’t help feeling compassion for her predicament. Perhaps the best aspect of the movie, however, is the relationship between George and her young lover “Childie”, played by Susannah York.

York’s performance is raw and daring — she puts herself all the way out on the line here, and it pays off tremendously.

Redeeming Qualities and Moments:

• Beryl Reid’s powerhouse performance as “Sister George”
  
• Susannah York’s equally impressive performance (one of her best) as George’s young lover
  
• An amusing reflection on the disparities between popular T.V. shows and “real life”
  
• Many humorous, remarkably racy lines:
  

  Mercy Croft: People are always telling me how cheerful you look, riding around on your bike.
  George: Well, you’d look cheerful, too, with fifty cubic centimeters throbbing away between your legs!

Must See?
Yes. This controversial movie may not be for all tastes, but I believe it’s must-see viewing for film fanatics.

Categories

• Controversial Film
• Noteworthy Performance(s)

Links:

• IMDb entry
• NY Times Original Review
• Time Out Capsule Review
• DVD Savant Review