FilmFanatic.org

Synopsis:
In the Russian court of Czar Nicholas (Ralph Morgan), Czarina Alexandra (Ethel Barrymore), and Czarevitch Aloysha (Tad Alexander), the duplicitous “holy man” Rasputin (Lionel Barrymore) worms his way to the top, while Prince Chegodieff (John Barrymore) does what he can to stop him.

Genres, Themes, Actors, and Directors:

• Con-Artists
• Edward Arnold Films
• Ethel Barrymore Films
• Historical Drama
• John Barrymore Films
• Lionel Barrymore Films
• Royalty and Nobility
• Social Climbers

Review:
Like many Hollywood costume dramas, Rasputin and the Empress takes ample liberty with historical facts, focusing more on character than veracity: Lionel Barrymore’s Rasputin is appropriately wild-eyed and scummy, sister Ethel is adequately regal, and brother John provides a consistent voice of reason. The dialogue (by, among others, Charles MacArthur and an uncredited Ben Hecht) and elaborate set designs are enjoyable; otherwise, Rasputin remains a rather tepid affair, one which will annoy history buffs and only provide minimal enjoyment to most film fanatics. Watch it simply to see the three Barrymores in action, as well as for its legal notoriety (see note below).

Redeeming Qualities and Moments:

• All three Barrymore siblings acting together in one film
  
  
• Sumptuous sets, costumes, and cinematography
  
  
• Rasputin forcing Aloysha to witness an ant and fly battling each other to the death
  
  

Must See?
No. Although it holds some historical importance as the film which prompted the disclaimer, “Any resemblance to actual persons…” to be added to historical dramatizations, it’s ultimately not must-see viewing.

Links:

• IMDb entry
• NY Times Original Review (spoilers alert)
• SciFilm Review

Synopsis:
In the 1950s, an idealistic pledge (Gregory Harrison) and his pledgemaster (Peter Fox) clash with a bullying brother (Scott Newman) over hazing practices at their fraternity.

Genres, Themes, Actors, and Directors:

• Bullies
• Cliff Robertson Films
• College
• Untimely Death

Review:
This remarkably assured feature debut by director Thomas Tobin and screenwriter Charles Gray Allison (who completed the film as his thesis project at USC) is based on a true story of accidental death-by-hazing. Given this background knowledge, one expects the story to focus on the negative aspects of fraternity life; indeed, when we hear Newman (Paul’s son) sneer early on, “Never forget that you are pledges, because a pledge is a low-life — scum, dirt, filth, diseased meat!” we cringe to think of what’s to come. Instead, the bulk of the story turns out to be relatively tame, only touching briefly on the vices and pitfalls of fraternity life (which in themselves come across as remarkably innocuous). Although the screenplay could be a bit tighter, and the elegiac narration by Cliff Robertson seems unnecessary, it’s hard to find fault with this competent film, a refreshing counterpart to raunchy college-exploitation flicks such as Animal House.

Redeeming Qualities and Moments:

• An insightful look at the rituals — both innocuous and harmful — of fraternity life
  
• Good acting by the cast of (mostly) non-actors
  

Must See?
No, but it’s recommended if you can find a copy. Listed as a Sleeper in the back of Peary’s book.

Links:

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

Synopsis:
A man (Aldo Ray) falsely accused of murder tries to escape from two bank robbers (Brian Keith and Rudy Bond), who believe Ray has their stolen money. Meanwhile, Ray is trailed by an insurance investigator (James Gregory) hoping to find the money himself.

Genres, Themes, Actors, and Directors:

• Aldo Ray Films
• Anne Bancroft Films
• Brian Keith Films
• Falsely Accused
• Flashback Film
• Fugitives
• Jacques Tourneur Films

Review:
This well-acted, suspenseful B-noir by director Jacques Tourneur features inspired casting, with Aldo Ray an unlikely yet sympathetic leading man, and Anne Bancroft suitably adventurous as his new love interest. Screenwriter Stirling Silliphant (working from a story by David Goodis) makes good use of flashbacks to unveil Ray’s story, gradually revealing why he chooses to stay on the lam rather than go to the police. The snowy climax in Wyoming brings this enjoyable yarn to a tense and dramatic end.

Redeeming Qualities and Moments:

• Aldo Ray as the falsely accused fugitive
  
• Anne Bancroft as Ray’s new girlfriend: “You’re the most wanted man I know.”
  
• Atmospheric cinematography
  
• The snowy climax
  

Must See?
No, but it’s highly recommended.

Links:

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

Synopsis:
In the early 20th century, a half-aboriginal Australian (Tommy Lewis) tries to adapt to white culture, but finds himself unable to cope with rampant, debilitating racism.

Genres, Themes, Actors, and Directors:

• Australian Films
• Cross-Cultural Romance
• Fred Schepisi Films
• Fugitives
• Native Peoples
• Race Relations
• Revenge

Review:
Fred Schepisi’s second film — a follow-up to his semi-autobiographical debut feature, The Devil’s Playground (1976) — was this adaptation of Thomas Keneally’s novel about the tragedy of systemic racism. Much like the New Zealand film UTU (1983), Blacksmith attempts to explain why relentlessly downtrodden individuals may turn to violence as a final means of expression: when all else is taken away from Jimmie (he’s unable to feed his own family), he must choose between abject resignation (other aborigines have descended into alcoholism) or rebellion. … Blacksmith isn’t an easy film to watch, but it bears viewing by anyone genuinely interested in Australian history.

Redeeming Qualities and Moments:

• Tommy Lewis in the title role
  
• A no-holds-barred look at race relations and prejudice in early-20th century Australia
  
• A powerful portrayal of a man attempting to straddle two radically different cultures
  
• A disturbingly realistic glimpse at aboriginal shantytowns
  

Must See?
Yes, simply for its historical importance. It’s listed as a cult movie in the back of Peary’s book, but I find it hard to believe that anyone could stomach this harsh film more than once.

Categories

• Historically Relevant

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

Links:

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

Synopsis:
After finding herself damned to hell, suicidal spinster Justine Jones (Georgina Spelvin) returns to Earth for a final attempt at sexual fulfillment.

• Adult Films
• Life After Death
• Mentors
• Sexual Liberation
• Suicide

Response to Peary’s Review:
As Peary notes, this “Bergman-influenced existential p. film” remains one of the best “breakthrough” adult movies from the early 1970s. Spelvin — who looks refreshingly normal (she’s “neither young nor especially pretty”) brings acting chops to her role, and makes us genuinely care for her character, not an easy feat in an adult film. Even if we don’t especially enjoy watching Miss Jones diddling herself with water and fruit, confronting a phallic snake, or sandwiching herself between two guys, we appreciate the fact that at least we’re witnessing a genuine personal transformation in progress.

Redeeming Qualities and Moments:

• Georgina Spelvin’s passionate, seemingly “genuine” performance as Miss Jones
  
• Unexpectedly fine production values

Must See?
Yes. Along with Deep Throat (1972) and Behind the Green Door (1972), this remains an icon of early 1970s adult filmmaking.

Categories

• Historically Relevant

Links:

• IMDb entry
• Time Out Capsule Review

Synopsis:
A handsome young drifter (Peter McEnery) is invited to live with a middle-aged nymphomaniac (Beryl Reid), her misogynist brother (Harry Andrews), and their aging “Dadda” (Alan Webb). Soon, however, Mr. Sloane (McEnery) is identified by “Dadda” as a murderer, and finds himself caught in a sticky situation.

Genres, Themes, Actors, and Directors:

• Black Comedy
• Harry Andrews Films
• Love Triangle
• Play Adaptation
• Siblings

Review:
Based on a play by British writer Joe Orton — whose tragic death was portrayed in Stephen Frears’ Prick Up Your Ears (1987) — this devilishly irreverent black comedy is remarkably risque. It’s fun to see Beryl Reid (star of the lesbian-themed Killing of Sister George) camping it up as an aging nympho (check out her see-through dress in the first part of the film — she’s fearless!), and Harry Andrews is a suitable foil as her closeted-gay brother, who seems to express his sexual preferences primarily through overt woman-hating. In the title role, Peter McEnery is yummy eye candy — his sculpted body is almost a parody of carnal desire. The story itself goes in all sorts of unexpected directions, and you’ll likely find your mouth agape by the truly surreal ending.

Redeeming Qualities and Moments:

• Beryl Reid’s delightfully wacky performance as Kath
  
• Harry Andrews as Ed
  
• Peter McEnery as “Mr. Sloane”
  
• Joe Orton’s clever, hugely irreverent script

Must See?
Yes. As the most successful cinematic adaptation of Joe Orton’s work, this should be of interest to all film fanatics.

Categories

• Historical Relevance

Links:

• IMDb entry
• NY Times Original Review (spoilers alert!)

Synopsis:
Four Jewish intellectuals (George Segal, Jack Warden, Joseph Wiseman, and Sorrell Booke) drive across New York City searching for the funeral of their friend, Leslie Braverman.

Genres, Themes, Actors, and Directors:

• Black Comedy
• Death and Dying
• George Segal Films
• Jessica Walter Films
• Jews
• New York City
• Sidney Lumet Films

Review:
Peary gives a reasonably positive review of this Sidney Lumet film, praising its “comic tone”, occasional “hilarious moments”, and “witty performances”. At the same time, he concedes that “you may tune out on these men” — and, indeed, I found it difficult to care about any of the insufferable characters here (men or women), who screech and kvetch ad infinitum. The most irritating character is Booke’s Holly Levine (a procrastinating writer who is pathologically attached to his new red VW bug):

but the other actors — while turning in decent performances, especially Segal — don’t fare much better.

Though it’s beloved by a handful of fans who are clamoring for its release onto DVD, this film is clearly not for all tastes, and wasn’t for mine.

Redeeming Qualities and Moments:

• Some interesting cinema verite shots of New York streets
  

Must See?
No.

Links:

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

Synopsis:
U.S. Treasury agents Dennis O’Brien (Dennis O’Keefe) and Tony Genaro (Alfred Ryder) go undercover to try to infiltrate a counterfeiting ring.

Genres, Themes, Actors, and Directors:

• Anthony Mann Films
• Counterfeiting
• Undercover Cops and Agents

Review:
T-Men was one of director Anthony Mann’s earliest collaborations with gifted cinematographer John Alton, who also worked with Mann on Raw Deal (1948) and Reign of Terror (1949). The result is an atmospheric, stylish thriller with strong performances and many moments of genuine tension. Unfortunately, the script is flawed by a pedantic narration (see the quote above), which — while ostensibly meant to impart a “documentary feel” to the film — simply interferes with the flow of the story. Nonetheless, T-Men remains worthy viewing at least once, especially for noir fans.

Redeeming Qualities and Moments:

• Dennis O’Keefe, perfectly cast in the lead role
  
• Wallace Ford as “the Schemer”
  
• John Alton’s stunning noir cinematography
  

Must See?
No, but it’s recommended.

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
In the 1930s, a millionaire (Burt Reynolds) falls for a singer named Kitty (Madeline Kahn), but is snatched away by Kitty’s indigent-heiress friend, Brooke (Cybill Shepherd). Meanwhile, a suave Italian gambler named Johnny Spanish (Duilio Del Prete) is in love with Brooke, Kitty is in love with Johnny, and Reynolds longs for his original love, Kitty.

Genres, Themes, Actors, and Directors:

• Burt Reynolds Films
• Cybill Shepherd Films
• Depression Era
• Love Triangle
• Madeline Kahn Films
• Musicals
• Peter Bogdanovich Films
• Romantic Comedy

Review:
Peter Bogdanovich’s much-maligned Cole Porter musical — infamously shot with his actors singing live rather than lip-syncing — is a surprisingly enjoyable, albeit innocuous, treat. Most of the critical complaints come from those who argue that Cybill Shepherd and Burt Reynolds are woefully miscast, and can’t carry a tune in a bucket — but this isn’t quite true. While Shepherd is no Marnie Nixon (and it IS hard to believe she actually released an album of Porter songs the year before), she has a sweet, warbling voice which only occasionally lacks the necessary punch. Reynolds, for his part, is never asked to do any major singing, and manages to pull off his role with characteristic macho flare. (If we really want to start nitpicking actors in musicals who couldn’t sing, why isn’t Rex Harrison in My Fair Lady torn to shreds?). Ironically, while Madeline Kahn is a marvelous comedic actress, her unusual voice seems least suited for this type of musical. It’s relative-unknown Duilio Del Prete who most evokes what we think of when we remember 1930s musicals — he’s perfectly cast here, and sings very nicely.

Music aside, the plot of At Long Last Love is a clever, suitably frothy romantic comedy, one which impressively integrates the lyrics from many of Porter’s best songs into a seamless narrative. Apart from its oddly inconclusive ending, there’s not much to complain about story-wise here. And visually, the film is quite a treat, with sumptuous art deco sets and beautiful gowns. Perhaps I’m missing something — or perhaps time has been incredibly kind to Bogdanovich’s vision — but I don’t get this film’s negative rap.

Redeeming Qualities and Moments:

• Eileen Brennan and John Hillerman singing “But In the Morning, No”
  
• Gorgeous art deco set designs
  
• Reynolds, Shepherd, Kahn, and Del Prete interrupting a ball by singing “Well, Did You Evah!”
  
• Clever integration of Porter’s songs into a romantic comedy narrative

Must See?
Yes, simply for its notoriety — but chances are you’ll enjoy it a lot more than you think. Listed as a camp classic in the back of Peary’s book.

Categories

• Controversial Film

Links:

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

Synopsis:
A new inmate (Wendell Burton) quickly learns the hierarchy of prison life from his cellmates: flamboyant Queenie (Michael Greer), dominant Rocky (Zooey Hall), and timid Mona (Danny Freedman).

Genres:

• Canadian Films
• Character Arc
• Homosexuality
• Play Adaptations
• Prisoners

Review:
Fortune and Men’s Eyes (the odd title is taken from a Shakespeare sonnet) is a brave yet ultimately flawed depiction of male prison life. More a theatrical fable than a realistic expose, Fortune… depicts a nightmarish milieu where sex is the primary currency, guards uniformly turn a blind eye to egregious sexual abuse, and inmates are forced to choose their sexual “position” in a rigid hierarchy. In one particularly disturbing scene (which predates Deliverance), Mona (Freedman) is gang-raped during a meal — and while everyone in the room is aware of what’s happening, absolutely nothing is done to stop the situation. Instead, Rocky (Hall) turns the event into a chaotic free-for-all, pouring buckets of water gleefully from the balcony while incongruously cheerful music starts to play on the soundtrack; again, the guards do nothing. It’s a baffling scene to be sure.*

Equally frustrating is the characterization of Rocky, who plays a pivotal role in the film: while Hall gives a decent performance, his character is so poorly written that it’s hard to understand his motivations. He could perhaps be seen as psychopathic in his vacillation between friendship with Burton and bullying domination, but this is never made clear. On the other hand, while some have argued that a character like Queenie (Greer gives a wonderfully vibrant performance) would never be able to hold such a high position in a male-dominated prison, I disagree: in an isolated world where sex is everything, a brash, self-confident man who willingly takes on the role of a woman (and flaunts his sexuality) may very well be able to thrive.

* Update 2/1/21: Having spent the past few years volunteering in a local men’s prison (and learning more about what daily life is like for them), everything about this movie now rings true — including this terrible but no longer incomprehensible scene.

Redeeming Qualities and Moments:

• Michael Greer’s stand-out performance as Queenie
  
• A painfully raw depiction of sexual dominance in prison
  

Must See?
No, but it’s recommended for those who enjoy prison flicks. Listed as a film with historical importance and a personal recommendation in the back of Peary’s book.

Links:

• IMDb entry
• MRQE (Movie Review Query Engine)
• NY Times Original Review
• Cleveland Press Review
• Roger Ebert’s Review
• Time Out Capsule Review