FilmFanatic.org

Synopsis:
A Polish medical student (Jan Nowicki) whimsically makes his way through life while dating a tram driver (Joanna Szczerbi).

Genres, Themes, Actors, and Directors:

• Eastern European Films
• Jerzy Skolimowski Films

Review:
It is truly difficult to know what to make of this early experimental film by Polish writer-director Jerzy Skolimowski, given that there really is no… plot. I had to rely on reading reviews and overviews just to get a basic sense of what I was seeing. Apparently we are watching the travails of an unnamed young medical student (Nowicki) who becomes fed up with his studies (it’s hard to blame him):

… and leaves with simply his suitcase and a piggie bank to visit his dad in a retirement home:

… where he’s given a letter by his father and sent on a wild-goose-chase involving a World War I saber and an older woman (Malgorzata Lorentowicz).

He climbs up a wall with chickens on it (?!):

… meets and dates a pretty tram operator:

… and sits in a mostly-empty restaurant with too many waiters milling around:

… where eventually, newspapers are made into jaunty party hats.

Nowicki also attacks a plastic-wrapped car with his saber at one point.

Given how little any of this makes sense, it’s challenging to follow or care very much — if at all — about what happens next. Knowing that Skolimowski later helmed Deep End (1970), The Shout (1978), and Moonlighting (1982) (among other titles) makes this early outing more of a curiosity for those interested in how he’s evolved as a director — but it’s not must-see viewing on its own.

Notable Performances, Qualities, and Moments:

• Occasional snippets of creative imagery
  

Must See?
Nope; skip this one.

Links:

• IMDb entry
• The Last Exit Review
• DVD Compare Review
• Village Voice Review

Synopsis:
Shortly after the death of her husband, an elderly woman (Sylvie) shocks her two grown sons (Etienne Bierry and Francois Maistre) and grandson (Victor Lanoux) by befriending a prostitute (Malka Ribovska) and a shoe store owner (Jean Bouise), and living a much more expansive life.

Genres, Themes, Actors, and Directors:

• Character Arc
• Elderly People
• French Films
• Grown Children
• Inheritance
• Strong Females
• Widows and Widowers

Review:
Based on a short story by Bertolt Brecht and helmed by writer-director René Allio, this character study of a widow gaining a new lease on existence offers an intriguing glimpse into the possibilities of living life on one’s own terms. Although the screenplay takes a while to start rolling, once we see the directions things are headed in, we can’t help but cheer on our protagonist. While Sylvie’s children expect her simply to mourn and continue the life of servitude and frugality she’s always led:

… Sylvie most definitely has her own plans. It turns out she has been quietly taking in the world around her, and little by little, begins to reach out to people she’s intrigued by — including (for reasons unknown) Ribovska:

… and Bouise.

We can tell that she’s enjoying shopping:

… eating out (especially a luxurious dessert!):

… gambling (she asks to learn how horse betting works):

… engaging with intellectual conversations:

… purchasing a car for the first time:

… and, perhaps most important of all, not allowing her kids’ desires, needs, or expectations drive her actions. Sylvie’s tale is a simple but empowering story of second chances, and a reminder that it really is never too late to follow your passions.

Notable Performances, Qualities, and Moments:

• Sylvie as Madame Berthe Bertini
  
• Good use of location shooting in Marseilles
  

Must See?
Yes, for Bertini’s performance and as an overall unique show.

Categories

• Noteworthy Performance(s)

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
In 11th century Normany, when a knight (Charlton Heston) is sent by his duke to rule over a Flemish village, he soon falls for a beautiful young woman (Rosemar Forsyth) betrothed to the son (James Farentino) of the town leader (Niall MacGinnis), and decides to take advantage of a pagan custom allowing him “first dibs” on her — but will Heston’s jealous brother (Guy Stockwell) stand for this turn of events?

Genres, Themes, Actors, and Directors:

• Charlton Heston Films
• Cross-Cultural Romance
• Historical Drama
• Medieval Times
• Play Adaptation
• Richard Boone Films

Review:
I’m not quite sure why Peary includes this historical drama — directed by Franklin J. Schaffner, adapting a 1956 play by Leslie Stevens called The Lovers — in his GFTFF. While the production values are fine:

… the storyline tells us far too little about this period of time in European history, other than focusing on the salacious (and contested) practice of droit du seigneur — that is, the “right” by feudal lords to sexual conquest of a virgin on her wedding night.

When Heston (sporting perhaps his worst movie hairstyle ever) first meets Forsyth, we’re meant to applaud him for not automatically violating her:

… and — after he feels a repellent buzz when attempting to touch her — to wonder whether she may have some kind of witchy pagan powers. Indeed, the clash of Christianity with Paganism is the film’s most intriguing potential theme, but it’s underdeveloped and seems to mostly serve as a curiosity factor.

The emergent romance between Heston and Forsyth (whose character is given virtually no personality) doesn’t go anywhere meaningful, and other supporting characters are equally opaque. There is a lot of medieval fighting and castle defending, if you enjoy that sort of thing:

… but otherwise you can feel free to skip this one.

Notable Performances, Qualities, and Moments:

• Vibrant sets and costumes
  
• Russell Metty’s cinematography
  
  

Must See?
No; this one is only must-see for Heston completists.

Links:

• IMDb entry
• Village Voice Review
• 2500 Movies Challenge

Synopsis:
A young British actress (Felicity Kendal) traveling across India in a Shakespearean troupe with her father (Geoffrey Kendal) and mother (Laura Liddell) falls for a playboyish man (Shashi Kapoor) with a possessive Bollywood mistress (Madhur Jaffrey).

Genres, Themes, Actors, and Directors:

• Actors and Actresses
• Cross-Cultural Romance
• Indian Films
• Love Triangle
• Merchant and Ivory Films
• Shakespeare

Review:
James Ivory and Ismail Merchant’s second feature-length film together after The Householder (1963) [non-GFTFF] was this adaptation of journals (later published as a memoir) by Geoffrey Kendal, who starred alongside his wife, daughters, and son-in-law (Kapoor) as a real-life version of himself. The storyline takes place during an intriguing time in Indian history, when Geoffrey’s troupe was at the tale end of (according to Wikipedia) “perform[ing] Shakespeare before royalty one day, and in rural villages the next,” with “many of their audiences… schoolchildren.”

In the film, we see Geoffrey struggling to secure work for his company:

… given that Indian culture is shifting towards more interest in sports and Bollywood features:

… which in some ways feels entirely appropriate given the necessary trajectory of post-colonialist initiatives.

The emotional crux of the narrative lies in the tentative romance between Felicity and Kapoor — which is hard to take at first given his duplicity.

However, Jaffrey is arrogant and entitled enough herself that we can see Kapoor would be much better off with Felicity — but is romance with Kapoor what’s best for her? The cinematography by Subrata Mitra (Satyajit Ray’s DP) is effectively atmospheric throughout, and Ray’s score — composed in just 10 days — is perfectly suited for the story. While it’s not must-see viewing, this film is well worth a look, and will be of special interest to Merchant-and-Ivory fans.

Notable Performances, Qualities, and Moments:

• Felicity Kendal as Lizzie
  
• Madhur Jaffrey as Manjula
  
• Geoffrey Kendal and Laura Liddell as Tony and Carla Buckingham
  
• Subrata Mitra’s cinematography
  
• Satyajit Ray’s score

Must See?
No, but it’s recommended for one-time viewing.

Links:

• IMDb entry
• NY Times Original Review
• Time Out Capsule Review
• TCM Article

Synopsis:
In early-twentieth-century Central America, the daughter (Brigitte Bardot) of an Irish revolutionary teams up with a circus singer (Jeanne Moreau), and the two Marias accidentally invent the strip tease before becoming revered revolutionaries themselves.

Genres, Themes, Actors, and Directors:

• Brigitte Bardot Films
• Carnivals and Circuses
• French Films
• George Hamilton Films
• Historical Drama
• Jeanne Moreau Films
• Louis Malle Films
• Revolutionaries
• Showgirls
• Strong Females

Review:
Louis Malle’s sixth feature film — after Elevator to the Gallows (1958) [not listed in GFTFF but I will review it as a Missing Title], The Lovers (1958), Zazie dans le Metro (1960), A Very Private Affair (1962) [non-GFTFF], and The Fire Within (1962) [non-GFTFF] — was this comedy adventure film loosely inspired by Vera Cruz (1954) but with intentionally female protagonists. Bardot is at the top of her game, bringing sassy energy to her role:

… and Moreau is as solid as ever (though George Hamilton’s role as her revolutionary lover is underdeveloped — something Malle himself acknowledged).

With cinematography in Eastman Color (by Henri Decae) and costumes by Pierre Cardin, it’s a visually heady affair:

… marked by fast-paced action and a few unexpected sight gags.

Interestingly, according to IMDb’s trivia page, “the movie classification board of the city of Dallas, Texas, banned the movie within the city on the grounds that it was too racy,” leading to “one of two U.S. Supreme Court cases that led to the establishment of the MPAA Ratings Code.” That Bardot…

Note: Despite hopeful rumors that they might not get along, Bardot and Moreau make a fine cinematic duo and were friendly in real life, too.

Notable Performances, Qualities, and Moments:

• Fine performances by the lead actresses
  
• Pierre Cardin’s costumes
  
• Henri Decae’s cinematography
  

Must See?
No, but it’s worth a one-time look if you’re in the mood — and of course it’s a must for Bardot or Moreau fans.

Links:

• IMDb entry
• TV Guide Review
• TCM Article

Synopsis:
Years after his virginal young mother (Margerita Caruso) gives birth to him, Jesus of Nazareth (Enrique Irazoqui) travels the countryside working miracles and calling his disciples to him.

Genres, Themes, Actors, and Directors:

• Biblical Stories
• Historical Drama
• Pier Paolo Pasolini Films

Review:
As Peary points out, Pier Paolo Pasolini’s “modern telling of the Christ… story, from birth to resurrection” — which was “given grandiose treatment in King of Kings and The Greatest Story Ever Told” — is “surprisingly straightforward.”

He notes that while “the pacing is very slow and most of the film is played in a subdued manner,” this actually “makes several scenes of callous violence perpetrated by authority figures on the masses particularly jolting” — i.e., “soldiers randomly kill babies who might be Jesus”:

… and “sweet-faced Salome finishes a lovely dance and demands the head of John the Baptist.”

Peary asserts (and I agree) that while “watching Jesus wander the deserts, meeting the poor and delivering defiant speeches (with one famous Christ quote after another), there is a strange feeling of authenticity, as if somehow news cameras were at the scene.”

Peary wonders about Marxist Pasolini’s “feelings about Christ” given how he’s portrayed here: at first he “seems concerned only with getting people to worship him… but in time… shows signs of compassion and a willingness to help, even sacrifice himself, for mankind.” Indeed, “Christ is a revolutionary who unites the masses and becomes a martyr to the cause, defying those in authority in church and state, and forcing these hypocrites, to reveal their true natures.”

Those who grew up hearing the gospel of the Christian New Testament will surely be fascinated to see it coming to life here without alteration. I found myself mesmerized while watching realistic-looking (non)-actors play out the roles I’d learned so much about; this felt much more like the “real deal,” historically speaking, than any other Biblical epic I’ve seen.

With that said, I can see how those not steeped in this particular storyline might be either less compelled by its content, and/or confused. (I’m reminded of taking a European art history class in college and being informed by our professor that having a basic understanding of Christianity would help us — a lot. Indeed, it did.)

Of particular note is the plum central casting of non-actor Enrique Irazoqui as Jesus.

The value of his intense gaze and unwavering commitment to the role are difficult to overstate, given how much of the storyline he (naturally) dominates. As noted on IMDb’s Trivia page:

In keeping with his idea of Jesus Christ as the greatest revolutionary of all time, Pier Paolo Pasolini considered casting Jack Kerouac or Allen Ginsberg in the role. He changed his mind when he met Enrique Irazoqui, a Spanish student of literature, who has written a thesis about Pasolini’s novel “Ragazzi di vita” and was very curious to meet him.

(One also can’t help noticing how many handsome young men were cast as Jesus’s disciples…)

It’s worth pointing out that “musical selections include the Congolese ‘Missa Luba,’ Prokofiev’s ‘Cantata’ from Alexander Nevsky, and Bach’s ‘St. Matthew Passion’,” as well as Odetta singing ‘Sometimes I Feel Like a Motherless Child.’ And I feel compelled to share the weird last sentence of Peary’s review, in which he notes that “this is the only film in which the Virgin Mary (who is pretty!) has a mustache.”

Ummm… Wha?!

Notable Performances, Qualities, and Moments:

• Enrique Irazoqui as Jesus
  
• Fine neo-realist cinematography
  
  

Must See?
Yes, as a uniquely powerful biblical drama by a noted director.

Categories

• Important Director

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

Links:

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

Synopsis:
When British spy Harry Palmer (Michael Caine) is sent to Berlin to help facilitate the journey of a would-be defector (Oscar Homolka), he meets up with the German head of a British intelligence station (Paul Hubschmid), and is seduced by a beautiful Israeli model (Eva Renzi) who he suspects is likely also a spy of some kind.

Genres, Themes, Actors, and Directors:

• Cold War
• Michael Caine Films
• Spies

Review:
Goldfinger (1964)-director Guy Hamilton — who went on to direct several more Bond flicks — helmed this adaptation of Len Deighton’s novel of the same name, once again starring Michael Caine as former-criminal-turned-spy Harry Palmer, as previously seen in The Ipcress File (1965). The storyline is predictably dense and complicated, with countless double agents, hidden agendas, secret alliances, and violent encounters:

… as well as a sexy, overly-convenient dalliance between Caine and Renzi.

The title funeral refers to an elaborate escape plan involving a coffin and shadowy tunnels:

… which is atmospherically shot through the streets of Berlin, as are many other scenes. Don’t worry too much about who is who, since all is revealed by the end — and you can always read a synopsis to catch up on details.

Notable Performances, Qualities, and Moments:

• Michael Caine as Harry Palmer
  
• Otto Heller’s cinematography
  
• Fine location shooting in Berlin
  

Must See?
Yes, as a finely crafted spy thriller.

Categories

• Good Show

Links:

• IMDb entry
• DVD Savant Review
• Classic Film and TV Cafe Review
• Time Out Capsule Review

Synopsis:
A middle-aged man (Burt Lancaster) decides to swim back to his own home through the pools of neighbors and friends.

Genres, Themes, Actors, and Directors:

• Burt Lancaster Films
• Downward Spiral
• Frank Perry Films
• Kim Hunter Films
• Mid-Life Crisis
• Road Trip

Review:
Husband-wife team Frank and Eleanor Perry collaborated on this adaptation of a (seemingly unfilmable) 13-page short story by John Cheever, telling a uniquely haunting road trip about a man hoping to literally swim his way back home again. What will he find once he gets there? We’re slowly given clues throughout Lancaster’s journey, as the people he encounters at various pools gradually humor him less and less; we know something is up with his past (and that he’s not quite in touch with reality), but specifics aren’t clear. At his first pool after emerging from the woods, Lancaster maps out his trek:

… heading next to a new pool just put in by Kim Hunter and her husband (Charles Drake).

After this, he arrives at a pool where he’s chastised by a woman (Cornelia Otis Skinner) upset at him for not visiting her sick son in the hospital — and we see here that all is not as fine and chummy with Lancaster across his social set as he’d like us to believe.

However, Lancaster is given an extended idyllic reprieve at his next stop, where he encounters his kids’ now-grown babysitter (Janice Landgard), who agrees to go on part of his swimming adventure with him.

They stop at a rollicking, drink-filled pool party:

… but after slo-mo reminiscing and frolicking:

… his bubble of reality is burst once again.

He sprints off to a pool owned by a pair of prissy nudists (Richard McMurray and Marge Champion):

[SPOILER ALERT FROM ABOUT HERE ON OUT]

… who make it crystal clear that Lancaster is no longer the wealthy man he seems to think he still is. From there, he visits with a poor little rich boy (Michael Kearney) left home alone with a maid and an empty pool:

… and after leaving this boy with visions of fantasy (“You see, if you make believe hard enough that something is true, then it is true, for you!”), his own decline becomes even more pronounced. He next visits an over-the-top pool party with plenty of former friends ready to put him down:

… and becomes especially agitated when he spots a hot dog cart that he formerly used with his own kids.

He can’t understand how or why it left his family’s possession, and things nearly turn violent. His next stop is with a former lover (Janice Rule) who is beyond exasperated with him; while she eventually shows some sympathy, she ultimately wants nothing more to do with him.

Lancaster’s final stop is a crowded municipal pool that he is barely allowed into, given he doesn’t have 50 cents to pay and his feet are dirty from crossing a highway; however, he eventually crawls his way across:

… and arrives at his ultimate destination, only to find the shock of his life waiting back at his home. By this point we realize the film has been unfolding like a Twilight Zone episode — and we really don’t know how things will end. It’s an unnerving but intriguing journey to follow along on, well worth a one-time look (though a repeated viewing will unveil new layers about what’s come before).

Note: Watch for Joan Rivers in a memorable bit part (her screen debut), as someone nervously flirting with Lancaster before she’s clued in about how troubled he is.

Notable Performances, Qualities, and Moments:

• Burt Lancaster as Ned
  
• David L. Quaid’s cinematography
  

Must See?
Yes, as a uniquely told cinematic story. Listed as a Cult Movie in the back of Peary’s book.

Categories

• Good Show

Links:

• IMDb entry
• The Swimmer: The American Nightmare (Video Analysis)
• TCM Article
• DVD Savant Review

Synopsis:
In late 19th century England, after inheriting her uncle’s farm, Bathsheba Everdene (Julie Christie) rejects romantic advances from a poor shepherd (Alan Bates), instead flirting with a local landowner (Peter Finch) and then falling for a rakish soldier (Terence Stamp) with a girlfriend (Prunella Ransome); who will Bathsheba ultimately decide to be with?

Genres, Themes, Actors, and Directors:

• Alan Bates Films
• Heiresses
• Historical Drama
• John Schlesinger Films
• Julie Christie Films
• Love Triangle
• Peter Finch Films
• Strong Females
• Terence Stamp Films

Review:
John Schlesinger directed this relatively faithful adaptation of Thomas Hardy’s 1874 novel of the same name, working once again with Julie Christie, who had starred previously in his Billy Liar (1963) and Darling (1965). The nearly three-hour-long film — shot mostly on location in Dorset and Wiltshire — is most notable for Nicolas Roeg’s stunning cinematography:

… and was surely inspired by the sight of beautiful Christie in another recent big-screen historical epic, Dr. Zhivago (1965) (not to mention echoes of yet another cinematic Julie among rolling hills — what does this shot remind you vaguely of?).

The storyline itself — revolving primarily around which of her three suitors Christie will choose — is ultimately of less interest than how doomed everyone in this Victorian world seems to be by the whims of fate, ranging from the early tragic loss of an entire herd of sheep:

… to a devastating fire:

… to a windstorm which nearly destroys giant ricks of hay:

… to the life-altering implications of missed connections at a would-be wedding. Meanwhile, it’s hard to know quite how to feel about each of the main players — though we lean towards sympathizing most with Bates’s earnest Gabriel Oak:

… given that he remains stalwart and unassuming throughout numerous set-backs. Christie’s Bathsheba is admirable for her insistence on managing her own household — though she’s not immune to the follies of her heart, which foils things for her time and again. Finch’s William Boldwood is ultimately a somewhat pitiable character:

… given that his attraction to Christie often overrides his own dignity; and Stamp is clearly the most contemptuously vile of them all:

… though even his motivations defy expectations at times. Fans of Hardy, Schlesinger, and/or any of the lead actors will surely want to check this one out, though it’s ultimately not a must-see classic.

Notable Performances, Qualities, and Moments:

• Beautiful cinematography
  
  
• Fine period detail
  

Must See?
No, but it’s certainly worth a one-time look simply for its visual beauty.

Links:

• IMDb entry
• TCM Article
• DVD Savant Review
• DVD Talk Review

Synopsis:
In 1950s New York, private eye Harry Angel (Mickey Rourke) is hired by a lawyer (Dann Florek) to help his client Louis Cyphre (Robert De Niro) track down a missing crooner named Johnny Favorite; soon Angel finds himself involved in more mystery, murder, and darkness than he could possibly have imagined.

Genres, Themes, Actors, and Directors:

• Alan Parker Films
• Charlotte Rampling Films
• Detectives and Private Eyes
• Historical Drama
• Horror Films
• Mickey Rourke Films
• Mistaken and Hidden Identities
• Robert De Niro Films

Review:
Alan Parker directed this adaptation of William Hjortsberg’s 1978 novel Falling Angel — a spiritual noir combining a private eye flick (disheveled O’Rourke is well-cast):

… with mystical forces which become ever-darker as the storyline proceeds. Central to the film’s positing of the world as filled with danger and menace is the oh-so-perfect casting of De Niro as the Devil (while his identity isn’t stated outright until later on, it’s obvious enough that it can’t really be considered an early spoiler).

We know — even if O’Rourke doesn’t — that he’s being sent on a mission to find someone who has reneged on a soul-swapping bargain. The details become much more complex, but we’re able to follow along well enough to make emergent sense of both what happened in the past — there is liberal use of cryptic flashbacks — and what’s currently unfolding. (Click here for an intriguing 25-minute video analysis.)

Along his travails, O’Rourke first visits an asylum, where he sweet-talks a nurse (Kathleen Wilhoite):

… into divulging information that allows him to track down a heroin-addicted doctor (Michael Higgins) in New York.

He takes a trip to Coney Island:

… before travelling down to New Orleans, where he encounters a beautiful young mother (Lisa Bonet):

… witnesses all kinds of voodoo magic:

… is trailed by a couple of cops (Eliott Keener and Pruitt Taylor Vince):

… books an appointment with a beautiful middle-aged tarot reader (Charlotte Rampling):

… meets a blues singer called Toots Sweet (real-life musician Brownie McGhee):

… and falls for Bonet. (This film was notorious for earning an X rating due to a sexually explicit scene between O’Rourke and Bonet, forcing Parker to remove 10 seconds of footage in exchange for an R.) Be forewarned that there’s plenty of increasingly dark imagery throughout this film, but O’Rourke is appropriately repulsed by it all, and it builds to a satisfying denouement. This one remains worth a look.

Notable Performances, Qualities, and Moments:

• Mickey Rourke as Harry Angel
  
• Robert De Niro as Louis Cyphre
  
• Fine historical production design
  
• Michael Seresin’s cinematography
  
• Trevor Jones’ score

Must See?
Yes, as a controversial cult favorite.

Categories

• Controversial Film
• Cult Movie

Links:

• IMDb entry
• NY Times Original Review
• Moria Review