New Leaf, A (1971)

New Leaf, A (1971)

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“All I am, or was, is rich — and that’s all I ever wanted to be.”

Synopsis:
A financially strapped playboy (Walter Matthau) woos an eccentric heiress (Elaine May) with the intent of murdering her after their marriage.

Genres, Themes, Actors, and Directors:

  • Black Comedy
  • Heiresses
  • Homicidal Spouses
  • Walter Matthau Films

Review:
Comedian Elaine May was apparently so appalled with the drastic studio cuts made to her debut film that she wanted her name taken off of it; despite her discontent, however, A New Leaf remains a memorably unique black comedy, and the strength of May’s vision still shines clearly through. Perennial grump Walter Matthau is brilliantly cast as a spoiled bon vivant so enamored with his lifestyle of wealth and leisure that he fails to pay any attention to his rapidly dwindling trust funds; when reality finally forces him to confront his state of near-destitution, he contemplates both suicide and marriage — ultimately deciding that the latter is marginally more acceptable. Because he finds women an annoyance, however — preferring instead to indulge his tastes in fine wine, fancy sports cars, tailored clothing, and impeccable decor — his decision to woo the clumsiest woman in Manhattan (if not the entire United States) comes at no small cost to his personal sanity.

As bespectacled botanist Henrietta (whose greatest aspiration in life is to find an undiscovered species of fern and have it named after her), May is the perfect comedic foil for Matthau; together, they are the epitome of odd duck coupling, and could potentially stand a chance — if only Matthau wasn’t so determined to murder her at the first opportunity. Meanwhile, details of May’s premarital existence are gradually revealed, as we begin to understand the myriad ways in which every individual in her life has taken advantage of her extreme naivete and charity. Will Matthau simply be the next in line — or will he experience a change of heart, and recognize his chance for happiness and fulfillment with Henrietta? This comedic gem is well worth watching to find out.

Redeeming Qualities and Moments:

  • Elaine May as Henrietta
  • Walter Matthau as Henry
  • May’s darkly humorous screenplay

Must See?
Yes, as an enduring comedic treat. Listed as a Cult Movie and a Personal Recommendation in the back of Peary’s book.

Categories

  • Cult Movie

Links:

Caddyshack (1980)

Caddyshack (1980)

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“So, I got that goin’ for me, which is nice.”

Synopsis:
At an elite country club, a young caddy (Michael O’Keefe) hopes to win a college scholarship; meanwhile, the groundskeeper (Bill Murray) pursues a menacing gopher, and the club’s owner (Ted Knight) clashes with an abrasive new member (Rodney Dangerfield).

Genres, Themes, Actors, and Directors:

  • Bill Murray Films
  • Class Relations
  • Comedy
  • Social Climbers

Review:
A cult favorite of those who remember it fondly from their youth, Caddyshack is essentially just a vehicle for comedians Bill Murray, Chevy Chase, and Rodney Dangerfield. Murray manages to squeeze in a few funny lines — including his infamous vignette about caddying for the Dalai Lama and being given “total consciousness” in lieu of a tip, leading him to quip, “So, I’ve got that goin’ for me” — but Chase is surprisingly subdued. It’s Dangerfield (in his first major film role) who really stands out as an unbelievably obnoxious real estate developer (“Tell the cook this is low grade dog food… This steak still has marks from where the jockey was hitting it.”) Unfortunately, the film itself is a bit of a pointless mess, and its central protagonist — young caddy O’Keefe — quickly loses our sympathy once he cheats on his loving girlfriend (an appealing Sarah Holcomb) with the resident tart (Cindy Morgan); it’s hard to care much about him — or the film — after this. Caddyshack is really only must-see viewing for diehard fans; all-purpose film fanatics can feel free to skip it (though be sure to check out the truly surreal male synchronized swimming sequence — see still below).

Redeeming Qualities and Moments:

  • Rodney Dangerfield as Al Czervik
  • Several drolly amusing sequences

Must See?
No, but fans of Dangerfield or Murray certainly won’t want to miss it.

Links:

Men (1985)

Men (1985)

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“Women have no scruples. We — we can be blackmailed by our consciences.”

Synopsis:
When an advertising executive (Heiner Lauterbach) discovers his wife (Ulrike Kriener) is having an affair with a bohemian artist (Uwe Ochsenknecht), he assumes a new identity and moves in with Stefan (Ochsenknecht), determined to learn more about why he’s so appealing to his wife.

Genres, Themes, Actors, and Directors:

  • Friendship
  • German Films
  • Love Triangle
  • Mistaken or Hidden Identities

Review:
Made on a shoestring budget for German television, Doris Dorrie‘s Men later enjoyed a successful theatrical release, and was the most widely seen German film that year. Essentially an unconventional “love triangle”, it tells the story of a successful ad executive named Julius (Lauterbach) who is so devastated and puzzled by his wife’s affair with free-spirited, long-haired artist Stefan (Ochsenknecht) that he goes to comedic extremes to learn more about why she’s betrayed him. Because the storyline is set up as a comedy, we’re meant to ignore the first glaring logical loophole that emerges: wouldn’t Stefan see photos of Julius at his lover’s house, and recognize him? This minor quibble aside, however, we soon watch in fascination as the newly humbled Julius– a casual womanizer himself, who’s cheated on his wife countless times in the past — does everything he can to comprehend Stefan’s appeal, and perhaps become a bit more like him. Meanwhile, he can’t help releasing his simmering rage towards the unsuspecting Stefan in random fits, which Stefan conveniently accepts as part of Julius’s “crisis”. Eventually, as the two men get to know and trust each other, a genuine friendship emerges, albeit one predicated on deception. While it’s not must-see viewing for all viewers, Men is recommended for those who enjoy unconventional tales of male bonding.

Note: The film’s poster, which depicts an image from the final comedic scene in the film, is a bit misleading; while there are certainly homoerotic twitches throughout (and one kiss), relations between the two men, for the most part, remain strictly “platonic”.

Redeeming Qualities and Moments:

  • Heiner Lauterbach as Julius/Daniel
  • Uwe Ochsenknecht as Stefan
  • An unconventional tale of male friendship and secret rivalry

Must See?
No, but it’s definitely recommended. Listed as a film with Historical Importance in the back of Peary’s book.

Links:

Sands of the Kalahari (1965)

Sands of the Kalahari (1965)

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“There are five people back there on a black mountain in a pure sand desert. They’re starving to death!”

Synopsis:
A diverse group of individuals — including a womanizing pilot (Nigel Davenport), a domineering hunter (Stuart Whitman), a failed mining engineer (Stanley Baker), a beautiful divorcee (Susannah York), a soft-spoken doctor (Theodore Bikel), and a former Nazi officer (Harry Andrews) — struggle to survive in the Kalahari desert after their passenger plane crashes.

Genres, Themes, Actors, and Directors:

  • Africa
  • Deserts
  • Ensemble Cast
  • Harry Andrews Films
  • Survival
  • Susannah York Films

Review:
Released the same year as Robert Aldrich’s Flight of the Phoenix, writer-director Cy Endfield’s survival tale — based on a novel by William Mulvihill — starts with the same premise of a plane crashing in the Kalahari desert, but moves in an entirely different direction. While the survivors of the Phoenix focus on rebuilding a plane that will lift them out of the area, the motley passengers in Endfield’s film become involved in an existential fight for dominance. Indeed, it’s soon made clear that Endfield is primarily concerned with highlighting the passengers’ devolution into primitive beings (much like the tribes of fang-baring baboons occupying the area), as sexual passions flare — York, conveniently gorgeous, is the only female passenger — and Whitman’s increasingly obvious desire for mastery at any cost (he’s the only one in the group with a gun and ammunition) takes hold. While the plot and dialogue occasionally strain credulity, we’re nonetheless intrigued by the “Lord of the Flies” mentality which emerges, pitting passengers against each other. Fine on-location shooting and an unusual script makes this a worthy adventure flick for those who enjoy tales of survival under extreme circumstances.

Redeeming Qualities and Moments:

  • Fine location shooting
  • An often tense and gripping script
  • The unexpected ending

Must See?
No, but it’s recommended. Listed as a Sleeper and a Personal Recommendation in the back of Peary’s book.

Links:

Lady in Red, The / Guns, Sin, and Bathtub Gin (1979)

Lady in Red, The / Guns, Sin, and Bathtub Gin (1979)

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“Beauty killed the beast, my ass — it was all them reporters.”

Synopsis:
A farm girl (Pamela Sue Martin) with dreams of making it big in Hollywood struggles to survive in Chicago, and eventually falls for notorious criminal John Dillinger (Robert Conrad).

Genres, Themes, Actors, and Directors:

  • Depression Era
  • Dick Miller Films
  • Gangsters
  • Louise Fletcher Films
  • Strong Females

Response to Peary’s Review:
As Peary notes, this entertaining “pay-TV favorite” rises above its “conventional New World-Roger Corman material” through “fast-paced, flavorful direction by Lewis Teague; a snappy script by John Sayles…; and a surprisingly engaging performance by [“Dynasty”‘s] Martin, who exhibits a winning combination of sex and savvy” and appears “remarkably at ease” in her first leading film role. While ostensibly focused on Martin’s role as an unwitting accomplice in Dillinger’s infamous death, Sayles’ heavily fictionalized, socially conscientious script is actually more concerned with presenting Martin’s coming-of-age story, as she transitions from dreamy farm girl (humming “42nd Street” to herself while collecting eggs in her father’s barn) to sweatshop employee to dance hall girl to prostitute to waitress, doing what she can to survive while sticking up for what she knows is right. She’s presented as innocently uninformed about Dillinger’s true identity, so her embroilment in his death comes across as simply one more stroke of bad luck against her — leading to the film’s “final act”, in which she decides not only to get even against the mob, but to “get ahead”. Filled with fine period detail, subtle social commentary, and smart supporting performances, Lady in Red is a worthy entry in the “Depression-era gangster film” genre, and should be seen by all film fanatics.

Redeeming Qualities and Moments:

  • Pamela Sue Martin as Polly
  • Louise Fletcher as Anna Sage
  • Nancy Parsons as Tiny Alice
  • Effective period detail
  • John Sayles’ smart, socially conscious script
  • James Horner’s score

Must See?
Yes, as an all-around good show.

Categories

  • Good Show

Links:

Chained Heat (1983)

Chained Heat (1983)

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“You can get by inside if you do the right people — you know what I mean.”

Synopsis:
A naive young woman (Linda Blair) convicted of manslaughter is sent to prison, where she quickly learns that corruption is rampant, and strategic alliances are everything.

Genres, Themes, Actors, and Directors:

  • Corruption
  • Prisoners
  • Revenge
  • Stella Stevens Films

Response to Peary’s Review:
Peary accurately refers to this New World WIP flick as a “ridiculous sexploitation” film which “lacks the fun or political subtext” of earlier entries in the genre, but is nonetheless guaranteed to “make any exploitation fan drool” due to its infamous grindhouse cast (including Sybil Danning, John Vernon, Stella Stevens, and Tamara Dobson, among others).

He misses the boat, however, in his mean-spirited assessment of a scene in which “Danning and Blair take a nude shower together and the tall, statuesque Danning is required… to display a sexual interest in the short, plump star”. Doesn’t Peary know that prison sex is often based on power dynamics rather than lust? And while she’s no Penthouse model, Blair’s actually quite cute here.

At any rate, fans of Women-In-Prison flicks won’t want to miss this badly-acted, ridiculously plotted, cliche-ridden smorgasbord of nudity, violence, sex, drugs, and corruption — complete with Blair’s transformation into a righteous avenger by the end. The rest of us, however, can feel free to skip it.

Redeeming Qualities and Moments:

  • Joseph Conlan’s score

Must See?
No. Despite its status as a cult favorite, this one is really only must-see viewing for fans of WIP flicks.

Links:

Certain Sacrifice, A (1985)

Certain Sacrifice, A (1985)

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“Do you think for once that any lover of mine could be tame?”

Synopsis:
When his new girlfriend (Madonna) is raped by a sleazy stranger (Charles Kurtz), a former college student (Jeremy Pattnosh) and his friends seek revenge.

Genres, Themes, Actors, and Directors:

  • Rape
  • Revenge

Response to Peary’s Review:
Peary is far too generous in his review of this infamous student film, which he argues is “not the best but certainly not worthless”, and has some “bright ideas and wit floating around”. Made in 1979 (when Madonna was just 20 years old), it was strategically released by director Stephen Jon Lewicki as a quick money-maker six years later, when her fame was beginning to skyrocket. Apparently Madonna insisted on being paid $100 for her work in the film, resulting in a signed contract which later prevented her from legally removing the movie from circulation — but there’s not much here for her to be especially ashamed of, other than some tame nudity and her typically amateurish performance in a crude independent film.

As many have noted, she made so many awful films later in her career that this one doesn’t stand out as particularly egregious — it simply has the lowest production values and makes the least sense.

Indeed, it’s often difficult to tell exactly what’s happening in this pretentious and unbearably artsy movie, which focuses on a college drop-out (Jeremy Pattnosh) who roams the streets of New York and falls for a young girl (Madonna) who’s secretly involved with a “family of lovers”. Meanwhile, Pattnosh encounters a boorish pig (Charles Kurtz, who Peary argues “steals the film” in his role — not much of a stretch) at a coffee shop, then later rapes Madonna simply because she’s Pattnosh’s girl. A final orgy revenge scene caps everything off. The soundtrack, unfortunately, is by Pattnosh rather than Madonna herself. Ultimately, A Certain Sacrifice is the type of movie that was probably must-see during its moment of notoriety (as Peary notes, “initial reports claimed it was an S&M porno film”), but is now required viewing simply for those who are morbidly curious or genuinely hung up on Madonna.

Redeeming Qualities and Moments:
Not much.

Must See?
No; unless you can’t contain your curiosity, feel free to skip this one-hour clunker.

Links:

Roman Scandals (1933)

Roman Scandals (1933)

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“They didn’t put people out on the street in Rome.”

Synopsis:
When a nebbishy do-gooder (Eddie Cantor) is thrown out of his home town of West Rome, Oklahoma, he suddenly finds himself a slave in Ancient Rome, fighting to save Princess Sylvia (Gloria Stuart) from the clutches of corrupt Emperor Valerius (Edward Arnold).

Genres, Themes, Actors, and Directors:

  • Ancient Greece and Rome
  • Busby Berkeley Films
  • Comedy
  • Do-Gooders
  • Eddie Cantor Films
  • Edward Arnold Films
  • Musicals
  • Slavery
  • Time Travel

Review:
Often cited as one of Eddie Cantor’s best vehicles, this lavish Depression-era musical features two far-out Busby Berkeley sequences, a bevy of nearly-nude “Goldwyn Girls” (including Lucille Ball), and a healthy dose of pre-Code humor (while selling himself on the slave market, Cantor coyly asserts, “I can take care of the children. If there are no children, I can take care of that. By being a son to you!”). In both West Rome and Ancient Rome (where he mysteriously time-travels after being knocked over on the street), Cantor gets to play one of his most likable characters — a genuinely well-meaning if timid guy who takes enormous risks to help others.

Although a little of Cantor goes a long way (and he’s on-screen all the time), fans will have plenty to enjoy. Meanwhile, Gloria Stuart (wearing a long blonde wig) has never been more fetching:

and statuesque Verree Teasdale is humorously villainous as the Emperor’s murderous wife.

Redeeming Qualities and Moments:

  • Typically lavish Busby Berkeley musical numbers

Must See?
Yes, simply to see the enormously popular Cantor in one of his best films. Listed as a Personal Recommendation in the back of Peary’s book.

Categories

  • Historical Importance

Links:

Naked and the Dead, The (1958)

Naked and the Dead, The (1958)

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“You don’t mess around with the army: I don’t care who you are, you take orders.”

Synopsis:
During World War Two, a lieutenant (Cliff Robertson) in the Pacific clashes with his superior (Raymond Massey) over privileges afforded to officers, and is sent to the front to help a cynical sergeant (Aldo Ray) lead a platoon against the Japanese.

Genres, Themes, Actors, and Directors:

  • Aldo Ray Films
  • Cliff Robertson Films
  • Raoul Walsh Films
  • Raymond Massey Films
  • Richard Jaeckel Films
  • Soldiers
  • World War Two

Review:
Raoul Walsh’s adaptation of Normal Mailer’s classic WWII-era novel is a notorious dud on every count. Retaining almost none of the brilliance or irreverence of Mailer’s writing, the end result is a pedestrian account of military combat in the Pacific, with power conflicts emerging as the script’s only viable theme. Raymond Massey is well-cast as a military bigwig who honestly believes in the necessity of maintaining fear and distance between soldiers and their commanding officers, but he’s the film’s sole redeeming feature. Read the book instead.

Redeeming Qualities and Moments:

  • Raymond Massey as General Cummings

Must See?
No; definitely feel free to skip this one.

Links:

Plumber, The (1979)

Plumber, The (1979)

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“It’s what you can’t see that counts in plumbing; always remember that.”

Synopsis:
A working-class plumber (Ivar Kants) terrorizes the wife (Judy Morris) of an anthropologist (Robert Coleby).

Genres, Themes, Actors, and Directors:

  • Australian Films
  • Cat-and-Mouse
  • Class Relations
  • Peter Weir Films
  • Psychological Horror

Review:
Made by writer-director Peter Weir for Australian television, this darkly humorous thriller is an unusual and strangely compelling treat. Judy Morris (as Jill) and Ivar Kants (as Max) are perfectly cast as opposites who immediately clash with one another when they’re forced into close proximity. Kants (effectively creepy) is deeply insecure about his working class background, and makes his scorn of intellectual Morris known immediately; after insinuating himself into her house (are there really plumbing problems in their pipes?), he proceeds to harass and mess with her, making snide comments about her lifestyle which she’s (initially) too polite to do anything about. It’s both ironic and strategic that Jill (a cultural anthropologist) is studying the “bizarre” cultural rituals of a Guinean tribe while simultaneously trying to deal with the equally inscrutable mystery of Max the Plumber. Will he harm her? Does he have ulterior motives? Or is Jill really going off the deep end? (Indeed, there’s a layer of feminist subtext to the plot, given that Jill has just recently chosen to give up her day job and stay at home.) Weir’s satirical brilliance lies in his ability to bring to the surface latent class tensions we’ve all felt at one time or another in our lives, as we’ve encountered people either more or less moneyed or educated than ourselves. Fortunately, he resists turning The Plumber into a traditional horror film, instead focusing on Jill’s increasingly paranoid reaction to Max, a feeling which no one around her — neither her distracted husband (Robert Coleby) nor her best friend (Candy Raymond) — seems to share. At just 77 minutes, The Plumber leaves you curious about its outcome until the very end; all film fanatics should check it out at least once.

Redeeming Qualities and Moments:

  • Judy Morris as Jill
  • Ivar Kants as Max
  • A humorously creepy screenplay
  • Rory O’Donoghue and Gerry Tolland’s score

Must See?
Yes, as a most effective and unconventional thriller. Listed as a Sleeper and a Personal Recommendation (I agree) in the back of Peary’s book.

Categories

  • Good Show
  • Important Director

Links: