FilmFanatic.org

Synopsis:
A popular teen named Ferris Bueller (Matthew Broderick) enlists the help of his best friend (Alan Ruck) and girlfriend (Mia Sara) in skipping a day of school while pretending to be sick at home in bed; meanwhile, his jealous sister (Jennifer Grey) and frustrated high school dean (Jeffrey Jones) try their best to prove that Ferris is faking his illness.

Genres, Themes, Actors, and Directors:

• Comedy
• High School
• John Hughes Films
• Teenagers

Review:
A surprising omission from Peary’s book, this enormously popular teen “fantasy” by writer/director John Hughes has become a certifiable cult favorite over the years, with several dedicated fan websites and a spot in 1,001 Movies You Must See Before You Die. A host of different actors (including John Cusack, Tom Cruise, Jim Carrey, Robert Downey Jr., Johnny Depp, and Michael J. Fox) were apparently considered for the title role, but these days it’s nearly impossible to imagine anyone other than Matthew Broderick as Ferris Bueller, every teen’s dream alter ego — a kid so clever that he manages not only to fool an entire school (well, almost an entire school) into believing his elaborate lies, but to gain their undying love and support as well (and he has a hot girlfriend!). Ferris knows what’s really important in a teenager’s life (love and freedom), and refuses to allow the petty constraints of mandatory schooling (“I mean, really — what’s the point?”) to get in his way. In addition to taking viewers on a tour of Chicago’s finest landmarks, the humor-filled script allows for pathos as well, in the character of Ferris’s best friend, Cameron, who undergoes a substantial character arc by the end of the film. While certainly not to everyone’s taste, Ferris Bueller’s Day Off should be seen at least once by all film fanatics — it’s too culturally iconic to miss.

Redeeming Qualities and Moments:

• Matthew Broderick as Ferris
  
• Jeffrey Jones as Ed Rooney, Ferris’s vengeful dean
  
• Edie McClurg as Rooney’s secretary, Grace
  
• Countless humorous scenarios — such as when Ferris’s girlfriend (Mia Sara) shamelessly flirts with his dad in a nearby taxi
  
• Good use of Chicago locales
  
• An effectively satirical look at why high school is often boring enough to make any student want a “day off”
  
• The hilarious closing-credits sequence on the schoolbus (“Gummy bear?”)
  

Must See?
Yes, for its status as a cult favorite.

Categories

• Cult Movie

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

Links:

• IMDb entry
• Roger Ebert’s Review
• TCM Article
• Time Out Capsule Review
• Ferris Bueller Website (includes the original script)

Synopsis:
A lonely typist (Joan Crawford) takes a chance on marriage with a much younger veteran (Cliff Robertson) she meets at a cafe, but soon discovers that her new husband has been lying about his past.

Genres, Themes, Actors, and Directors:

• Cliff Robertson Films
• Joan Crawford Films
• Marital Problems
• May-December Romance
• Mental Breakdown
• Robert Aldrich Films

Review:
Robert Aldrich’s first collaboration with Joan Crawford (six years before What Ever Happened to Baby Jane?) received scathing reviews from Bosley Crowther of the New York Times upon its release (“The situation… couldn’t have been handled less considerately or convincingly”) but has recently been resurrected as an unfairly maligned sleeper, with Time Out of London noting that it cuts “a radical cinematic swathe through weepie material”, and Slant Magazine (referring to it as Aldrich’s “secret gem”) offering a veritable film school treatise on the screenplay’s Freudian underpinnings. In truth, Autumn Leaves is a surprisingly complex and thoughtful treatment of a cinematic topic (marital distrust) which has often been mined for sensationalist gold (as in Crawford’s earlier, differently enjoyable Sudden Fear), but rarely in just this way.

Crawford and Robertson (21 years apart in real-life age) make a surprisingly believable May-December couple, with plenty of chemistry between them; they and their co-stars — including a well-cast Lorne Green and Vera Miles — give fine, nuanced performances. The film as a whole is elevated by both Charles Lang’s atmospheric cinematography and Aldrich’s distinctive directorial touch, which turn many would-be “ordinary” scenes (Crawford hesitating before answering the phone; Robertson standing in a hotel hallway) into haunting meditations on the characters’ psyches. With plenty of unexpected twists, the plot never fails to keep us on our toes; and while the film’s ending may come across as unnecessarily melodramatic, it somehow serves as a fitting ending to this emotionally intense whirlwind of an unconventional love story.

Redeeming Qualities and Moments:

• Joan Crawford as Millicent Wetherby
  
• Cliff Robertson as Burt Hanson
  
• Ruth Donnelly as Millie’s chatty landlady, Liz
  
• Vera Miles as Burt’s ex-wife
  
• Charles Lang’s b&w cinematography
  
• Aldrich’s unique directorial style
  

Must See?
Yes, as an all-around “good show” by a renowned director.

Categories

• Good Show
• Important Director

Links:

• IMDb entry
• NY Times Original Review (spoiler alert)
• TV Guide Review
• Slant Magazine Review
• TCM Article (spoiler alert)

Synopsis:
A Yale graduate (Louise Smith) works part-time in a Manhattan brothel while pursuing her dreams of a career in photography.

Genres, Themes, Actors, and Directors:

• Feminism and Women’s Issues
• Prostitutes and Gigolos

Review:
This follow-up to director Lizzie Borden’s auspicious debut film (1983’s Born in Flames) is a noticeable omission from Peary’s book, given that it’s ultimately even more successful than its heavy-handed predecessor. Twenty years after its release, Working Girls — a fictionalized “day in the life” docudrama — remains the most revealing and honest look at female prostitution ever committed to film, offering viewers a refreshingly de-glamorized glimpse into the day-to-day operations of a modern brothel. Through an array of diverse prostitutes and johns, we learn why young women may choose this lucrative yet socially denigrated profession; how they bond together to laugh behind the backs of their often-ridiculous clients; how they maintain cleanliness and efficiency in their “office”; how they ensure that their clients aren’t cops (johns are ordered to “get completely comfortable” — i.e., strip off all their clothing — before handing over money); and how there’s no honor among thieves when it comes to ambitious “pimps” like Madam Lucy (deliciously portrayed by Ellen McElduff). While Borden and Sandra Kay’s script is undeniably didactic at times, and the performances are mostly amateurish (Smith and McElduff stand out as the exceptions), it’s difficult not to get caught up in the lives of Molly and her motley co-workers.

Redeeming Qualities and Moments:

• Louise Smith as Molly
  
• Ellen McElduff as “Madam Lucy”
  
• Molly’s hilarious session with “Fantasy Fred”
  
• A refreshingly unglamorized inside-glimpse at the world’s oldest profession

Must See?
Yes, as a one-of-a-kind original.

Categories

• Good Show

Links:

• IMDb entry
• Roger Ebert’s Review
• NY Times Original Review
• Washington Post Review (Richard Harrington)
• TV Guide Review
• Time Out Capsule Review

Synopsis:
In a close-knit Iranian village, the adoring owner (Ezzatolah Entezami) of the town’s only cow suffers a mental breakdown when he learns that his beloved “pet” has suddenly died.

Genres, Themes, Actors, and Directors:

• Mental Breakdown
• Middle Eastern Films
• Obsessive Love
• Village Life

Review:
While Peary’s Guide for the Film Fanatic lists many “predictable” foreign gems (and a few that are lesser-known), there are nonetheless a number of historically relevant titles — particularly those from developing countries — which are missing, perhaps because he never had a chance to see them in American theaters. These days, however, thanks to DVD, it’s easier than ever to fill in the gaps of our “third world cinema” knowledge, and this film — made by seminal Iranian director Dariush Mehrjui — is one title film fanatics should at least be familiar with. It tells the simple, occasionally enigmatic tale of a married man’s obsessive love for his cow (! yes, it’s mildly creepy), but at heart it’s really more concerned with exploring village dynamics, and how members of a small community choose to deal with one of their own slowly going around the bend. It’s unlike any other film you’ve ever seen, and is worth a look for its historical importance alone.

Redeeming Qualities and Moments:

• The creative opening titles
  
• Ezzatolah Entezami as Masht Hassan, the cow’s bereaved owner
  
• An effective look at close-knit village life
  
• Fereydon Ghovanlou’s b&w cinematography
  

Must See?
Yes, for its historical importance as a forerunner of Iranian neo-realist cinema.

Categories

• Historically Relevant

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

Links:

• IMDb entry

Synopsis:
A wealthy playwright (Joan Crawford) marries an actor (Jack Palance) who she recently fired from her play, not realizing that his love for her is a sham, and that, together with an old girlfriend (Gloria Grahame), he plans to murder her for her money.

Genres, Themes, Actors, and Directors:

• Gloria Grahame Films
• Homicidal Spouses
• Jack Palance Films
• Joan Crawford Films
• Plot to Murder
• Writers

Review:
In the long list of Joan Crawford titles inexplicably missing from Peary’s book, Sudden Fear is perhaps the oddest omission, given its status as both an Oscar nominee and one of Crawford’s signature flicks. It’s a taut, well-crafted thriller with atmospheric b&w cinematography, excellent use of San Francisco locales, a jazzy score by the inimitable Elmer Bernstein, several lengthy visual sequences that would do Hitchcock proud, and fine performances by the entire cast — particularly Crawford, who’s in nearly every scene. At the time of the film’s release, Crawford’s performance wasn’t very well received, with Bosley Crowther of the NY Times complaining that “a viewer not entirely a slave to Miss Crawford’s brand of histrionics might argue that an excessive amount of footage is given to close-ups of the lady in the throes of mental traumas and other emotional disturbances.” Today, however, it’s clear that Crawford is actually giving one of the best performances of her career: other than her later turn in What Ever Happened to Baby Jane? (1962), she’s never appeared so genuinely frightened or emotionally vulnerable (the sweat and tears she produces are copious).

The infamous sequence during which Myra (Crawford) accidentally overhears Palance and Grahame’s plans to murder her is particularly wrenching; Myra’s not only afraid for her life, but heartbroken and stunned to learn that her beloved husband is nothing close to what he appears. It’s a hell of a thing to learn in one fell swoop that your husband is not just deceitful but a homicidal psychopath as well. Once this “plot twist” occurs, the remainder of the film plays out with remarkable tension and suspense: while we know that Myra’s concocted a plan, and that it will likely be a good one (Myra is, after all, a renowned playwright), we have no idea exactly how the machinations of her elaborate scheme will work. To her credit, even once she learns of her husband’s untold treachery, Crawford’s Myra is rarely bitter or cynical; she dreams of revenge, but only as a means of personal survival — and we can’t help rooting for her until the film’s exciting climax.

Redeeming Qualities and Moments:

• Joan Crawford as Myra (Hudson) Blaine
  
• Jack Palance as Myra’s homicidal husband
  
• Gloria Grahame as Irene
  
• The infamous Dictaphone revelation sequence
  
• Charles Lang’s noirish cinematography
  
• Fine direction by David Miller
  
• The exciting final chase sequence
  
• Excellent use of hilly San Francisco locales
  
• A remarkably frightening depiction of spousal deception
  
• Elmer Bernstein’s distinctive score

Must See?
Yes, as one of Crawford’s best flicks.

Categories

• Noteworthy Performance(s)
• Oscar Winner or Nominee

Links:

• IMDb entry
• NY Times Original Review
• TCM DVD Review
• Tired Old Queen at the Movies Video Review

Synopsis:
An anthropologist (Joan Crawford) discovers a “missing link” troglodyte (Joe Cornelius) living deep inside a cave, and tries her best to humanize him. Meanwhile, her efforts are sabotaged by an evil land developer (Michael Gough) who wants nothing more than to obliterate Trog.

Genres, Themes, Actors, and Directors:

• Joan Crawford Films
• Primates
• Science Fiction
• Scientists

Review:
While Peary lists Berserk! (1967) — Joan Crawford’s tepid next-to-last picture — in the back of his book as “must see”, for some reason he fails to include its infinitely more notorious counterpart, Trog: a film so hideous it purportedly sent Joan herself scurrying away from Hollywood for good. (“If I weren’t a Christian Scientist, and I saw Trog advertised on a marquee across the street, I think I’d contemplate suicide”, she declared.) Indeed, Trog is one of the ultimate “bad movies” — a film so bad it’s campily good, with a nonsensical “scientific” basis, awful low-budget effects, and a cliched storyline. It’s Joan’s game participation which makes it worth a look: as always, she’s a consummately earnest and classy actress, voicing her lines like she’s in a high-brow melodrama rather than a Z-grade primate flick. Seeing her interact with Trog is priceless, and makes up for the rest of this truly lousy pic.

Note: Joan’s performance in Trog is so beloved that San Francisco’s LGBT Theatre Rhino produced a theatrical parody of the film back in 2006.

Redeeming Qualities and Moments:

• It’s all about Joan, giving it her damndest
  
  
  
• Laughably awful special effects and make-up
  
• Hilariously cliched dialogue (especially as voiced by Joan):
  

  “Malcolm, get me my hypo-gun — quickly!”

Must See?
Yes, simply to see Joan Crawford in her final flick.

Categories

• Historically Relevant

Links:

• IMDb entry
• DVD Savant Review (scroll down)
• Moria Review
• TCM Article
• TV Guide Review

Synopsis:
When a young orphan named Patrick (Jan Handzlik) goes to live with his eccentric Aunt Mame (Rosalind Russell) in New York, the executor (Fred Clark) of his deceased father’s estate worries that Patrick will be subjected to “unhealthy” influences — but Patrick grows into an upstanding young man (Roger Smith) with a mind of his own, eventually deciding to marry a stuffy socialite (Joanna Barnes) who’s radically different from free-spirited Mame.

Genres, Themes, Actors, and Directors:

• Character Studies
• Comedy
• Non-Conformists
• Orphans
• Play Adaptation
• Raising Children
• Rosalind Russell Films

Review:
This Oscar-nominated adaptation of Jerome Lawrence’s play (based on Patrick Dennis’ bestselling novel) is conspicuously missing from Peary’s book. Despite its flaws — it was nowhere close to being one of the best films of the year — it nonetheless holds a special place in film fanatic history, given that Rosalind Russell (who originated the title role on Broadway) is the definitive Mame. While Oscar-nominated Peggy Cass as Agnes Gooch is (to me) less impressive, and Yuki Shimoda’s turn as Ito the butler is painful to watch, others — including Coral Browne as Mame’s lifelong acting friend, Jan Handzlik as young Patrick, and Forrest Tucker as a wealthy southerner who falls head over heels for Mame during the Depression — do a fine job bringing the heart-warming story to life. Some portions of the 2-hour-plus episodic narrative are, inevitably, better than others (the entire Deep South sequence, for instance, could easily have been omitted), but the structure is perfectly suited to Mame’s live-each-day-as-it-comes philosophy, and there are countless laugh-out-loud moments. Indeed, it’s hard not to be amused by Mame’s reactions to the inexplicable stuffiness of most folks — we could all use a bit of her world-view.

Redeeming Qualities and Moments:

• Rosalind Russell as Mame
  
• Mame enduring a visit with Patrick’s obnoxious in-laws-to-be
  
• The cool kaleidoscopic opening titles
  

Must See?
Yes, simply for Russell’s noteworthy, historically relevant performance as Mame.

Categories

• Noteworthy Performance(s)
• Oscar Winner or Nominee

Links:

• IMDb entry
• NY Times Original Review
• TCM Article

Synopsis:
In a small French town, a worldly schoolteacher (Stephane Audran) meets a recently returned veteran (Jean Yanne) at a wedding, and the two quickly become friends. Although Audran resists anything more than platonic love, Yanne longs for romance; meanwhile, mysterious murders shake the town, and Audran starts to suspect her friend.

Genres, Themes, Actors, and Directors:

• Claude Chabrol Films
• French Films
• Serial Killers
• Teachers
• Veterans

Review:
Peary is clearly a fan of French director Claude Chabrol, given that he lists most of his titles as “Personal Recommendations”; thus, it’s strange that he neglected to include this well-received pseudo-Hitchcockian murder mystery in his book. The Butcher stars Chabrol’s (then) wife and frequent leading lady, Stephane Audran, in one of her most affecting roles as a love-weary teacher who clearly enjoys the company of her new male friend (her soul mate?), but resists anything more than platonic companionship; Jean Yanne is equally impressive as “the butcher”, a troubled veteran who Audran desperately hopes is not responsible for the recent rash of bloody murders plaguing the town. While I’m not particularly enamored by Chabrol’s sensibility (none of his films are titles I’d return to on a repeat basis), The Butcher is memorable enough to recommend as must-see viewing for any serious film fanatic.

Redeeming Qualities and Moments:

• Stephane Audran as Mlle. Helene
  
• Jean Yanne as Popaul the Butcher
  
• Effective use of provincial French locales near the Lascaux Caves
  
• The “cherry scene”
  
• The creepy “blood sandwich” scene
  

Must See?
Yes, as one of Chabrol’s signature films.

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

Categories

• Important Director

Links:

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

Synopsis:
Widowed Lynn Markham (Joan Crawford) wants nothing more than to be left alone in her new beach house, where the previous tenant (Judith Evelyn) mysteriously fell from the porch to her death. Meanwhile, Lynn’s hunky neighbor “Drummy” (Jeff Chandler) — who may have had something to do with Evelyn’s demise — makes moves on her; Drummy’s manipulative “aunt” (Natalie Schafer) and “uncle” (Cecil Kellaway) hope to be able to fleece Lynn in card games; and Lynn’s realtor (Jan Sterling) — who has a secret crush on Drummy — keeps showing up at her doorstep.

Genres, Themes, Actors, and Directors:

• Cecil Kellaway Films
• Con-Artists
• Jan Sterling Films
• Jeff Chandler Films
• Joan Crawford Films
• Murder Mystery
• Widows

Review:
Of the countless films Joan Crawford starred in during her lengthy career, Peary only lists 19 as “must see” viewing; Female on the Beach isn’t one of these, but it should be. This deliciously campy thriller was panned upon its release (Bosley Crowther complained about the “hackneyed script and the artificiality and pretentiousness of Miss Crawford’s acting style”), but has since become a minor cult favorite. 50-year-old Crawford (you’d never know it) is at her inimitable best, showing off her gorgeously preserved gams as she struts around her beach house, vacillating between an embittered desire to be left alone, a rising attraction for the undeniably hunky Chandler, and — once she falls headlong in love — concern for her own safety. Schafer (Mrs. Thurston Howell on “Gilligan’s Island”) and Kellaway add a comedic touch to the proceedings, while supporting-actress Sterling is as reliable as always. Chandler — apparently hand-selected by Crawford — is perfectly cast as “Drummy”, an orphaned gigolo with a harsh past; it’s to his credit that we feel sympathy for his plight from the very beginning. Perhaps most enjoyable, however, is the near-constant stream of slightly racy and/or quippable lines (see below for a generous sampling); with exchanges like these, it’s hard not to giggle in vicarious delight.

Redeeming Qualities and Moments:

• Joan Crawford as Lynn Markham
  
• Hunky Jeff Chandler as “Drummy” Hall
  
• Natalie Schafer as Queenie Sorenson
  
• Jan Sterling as Amy Rawlinson
  
• Many surprisingly racy quotes and exchanges:
  

  Lynn: “I have a nasty imagination, and I’d like to be left alone with it.”

  Drummy: “Whenever I wake up a beautiful girl, I always make her breakfast.”

  Queenie [to Drummy]: “It’d be an act of kindness for you to offer her your friendship — all of it.”

  Drummy [after emerging from a swim]: “I guess I’d better think about getting some clothes on, huh?”
  Lynn: “Oh, I’m broad minded…”

• Robert Hill’s campy, quote-studded script:
  

  Lynn: “I was on an island once; they all look alike — round.”

  Lynn [to Drummy]: “You must go with the house — like plumbing.”

  Lynn [to Drummy]: “You’re about as friendly as a suction pump.”

  Drummy: “I don’t hate women; I just hate the way they are.”

  Lieutenant Galley: “Give my regards to Drummy; he’s very tall, isn’t he?”

  Lynn [to Drummy]: “I wouldn’t have you if you were hung with diamonds upside down.” (???!!!)

Must See?
Yes, for its status as a campy cult favorite.

Categories

• Cult Movie

Links:

• IMDb entry
• NY Times Original Review
• Tired Old Queen at the Movies Video Review

Synopsis:
A widowed bar hostess (Hideko Takamine) struggling to survive in post-war Japan must decide whether to remarry or open an establishment of her own.

Genres, Themes, Actors, and Directors:

• Character Studies
• Feminism and Women’s Issues
• Japanese Films
• Survival
• Widows and Widowers

Review:
Only two of little-known Japanese director Mikio Naruse’s films (Late Chrysanthemums [1954] and Floating Clouds [1955]) are listed in Peary’s book, but this later Naruse movie remains must-see viewing as well. Widowed Keiko (Takamine) — approaching thirty (!) — is stuck in a dead-end job with little chance to move “up”. While in the midst of seriously considering opening her own bar, she witnesses her “rival” trying the same thing and failing miserably — and, though a married male suitor is willing to loan Keiko money in return for “favors”, Keiko refuses to compromise herself. Having made a vow of lifelong loyalty to her dead husband, she’s remained celibate since his death, and is unable to act upon her desire for romance (or sex) without guilt; when she finally does give in to men’s solicitations (twice), she’s badly burnt both times. Despite its decidedly grim storyline, however, When a Woman… remains eminently watchable, thanks in large part to Takamine’s sensitive portrayal as Keiko: she manages to exude both integrity and vulnerability at once, making us believe she’ll be alright despite the odds against her.

Note: When a Woman… evokes Mizoguchi’s post-war work — particularly A Geisha (1953) and Street of Shame (1955) — but with a decidedly “jazzy” twist, thanks to Toshiro Mayuzumi’s xylophone-heavy score and Satoshi Chuko’s “modern” interiors.

Redeeming Qualities and Moments:

• Hideko Takamine as Keiko
  
• Masayuki Mori as Keiko’s married love interest
  
• Tatsuya Nakadai as Kenichi Komatsu
  
• Daisuke Kato as Keiko’s roly-poly suitor
  
• Masao Tamai’s gorgeous b&w cinematography
  
• A devastating look at female survival in a patriarchal society
  
• Toshiro Mayuzumi’s jazzy score

Must See?
Yes. This unsung masterpiece should definitely be seen by all film fanatics.

Categories

• Foreign Gem
• Important Director

Links:

• IMDb entry
• DVD Savant Review
• Criterion Collection Essay
• Slant Magazine Review
• Time Out Capsule Review