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Month: April 2006

Doc Savage: The Man of Bronze (1975)

Doc Savage: The Man of Bronze (1975)

“Have no fear — Doc Savage is here!”

Synopsis:
Doc Savage (Ron Ely) and his associates, the Fabulous Five, travel to the South American country of Hidalgo to investigate the death of Doc’s father.

Genres:

  • Comics and Comic Strips
  • George Pal Films
  • Murder Mystery
  • Satires and Spoofs
  • Superheroes

Response to Peary’s Review:
This adventure film — George Pal’s last production, bringing “Kenneth Robson’s pulp hero to the screen for what was supposed to be the beginning of a series” — is clearly meant to be a spoof, but falls flat on all counts. While I’m occasionally in the mood for enjoying a truly “bad movie”, this one can’t seem to make up its mind if it wants to be camp or straight-action drama. Plus, as Peary points out, “square-jawed” Ron Ely has zero charisma:

… there are “few interesting story twists”, and it “has the static studio-look of a cheap, kiddle adventure TV show.” Other than a few diehard Doc Savage fans, most IMDb contributors seem to agree with Peary that this cult film is a “dull disappointment”.

Redeeming Qualities:

  • A bizarre image of a villain sleeping in an oversized crib and sucking his thumb

Must See?
No, unless you happen to be a Doc Savage fan.

Links:

Heart Like a Wheel (1983)

Heart Like a Wheel (1983)

“The only thing I do fast is drive.”

Synopsis:
Shirley “Cha Cha” Muldowney (Bonnie Bedelia) battles discrimination and personal heartache as she becomes the top female drag-racer of all time.

Genres:

  • Beau Bridges Films
  • Biopics
  • Bonnie Bedelia Films
  • Car Racing
  • Dick Miller Films
  • Feminism and Women’s Issues
  • Sports

Response to Peary’s Review:
As Peary notes, Bonnie Bedelia turns in an “Oscar-worthy performance as drag-race champion Shirley ‘Cha Cha’ Muldowney,” the first woman to break the gender barrier in drag-race competitions. Director Jonathan Kaplan wisely avoids trying to hit all the “key points” in Bonnie’s life; instead, he takes the time to develop a three-dimensional character with real-life goals and heartaches. Shirley is portrayed as a strong, independent, driven woman who “finds disappointment in her relationships with men” yet continues to strive “for triumphs in her profession.”

Redeeming Qualities:

  • Bonnie Bedelia’s excellent, natural performance as Shirley
  • Beau Bridges as Connie Kalitta, Bonnie’s “unfaithful lover”

Must See?
No, but it’s recommended.

Links:

Snuff (1976)

Snuff (1976)

“I will cut your heart from your body and feed it to the dogs!”

Synopsis:
A gang of drug-addicted serial killers pursue a beautiful actress and her household.

Genres, Themes, Actors, and Directors:

  • Serial Killers

Response to Peary’s Review:
This “wretched picture” — a muddled, incomprehensible pastiche of several awful movies — may possibly earn my vote as the worst movie ever made. As I noted in my review of Heaven’s Gate (1980), it’s a rare instance when I can’t get all the way through one of the titles listed in Peary’s book, but this was another exception. The final “snuff” scene is ridiculous (and obviously staged):

… but nonetheless sparked an urban legend which made scads of unsuspecting people want to go see this mess of a film.

Redeeming Qualities:

  • None. At all. Believe me.

Must See?
No; avoid this one at all costs.

Links:

Payday (1973)

Payday (1973)

“You didn’t earn it.”

Synopsis:
Country singer Maury Dann (Rip Torn) experiences a downward spiral as he and his band take a road trip across America.

Genres, Themes, Actors, and Directors:

  • Character Studies
  • Has-Beens
  • Musicians
  • Rip Torn Films
  • Road Trip

Response to Peary’s Review:
This “excruciatingly unpleasant” film — starring Rip Torn as an aging, has-been musician who “makes life miserable” for most of the people he’s around, much like “Robert Montgomery’s washed-up producer in The Saxon Charm (1948)” — is nonetheless oddly compelling and full of “offbeat well-played scenes.” Torn has never been better, playing someone so spectacularly self-absorbed and out of touch that he arrives “either four months early or eight months too late” for his child’s birthday. The supporting cast is excellent as well — particularly Elayne Heilveil as Maury’s dim-witted groupie.

Redeeming Qualities:

  • Rip Torn as Maury Dann
  • Maury’s joyfully wacky mom (Cara Dunn) throwing her laundry over the clothesline
  • Heilveil discussing frying pans with Maury’s driver

Must See?
No, but it’s recommended.

Links:

Bilitis (1977)

Bilitis (1977)

“Look at me — I’m all flat and skinny, like a boy.”

Synopsis:
A teenage schoolgirl (Patti D’Arbanville) spends the summer with a couple whose marriage is on the rocks, and develops a crush on the wife (Mona Kristensen). Meanwhile, she pursues a local teenage boy (Bernard Giraudeau), and tries to find a “suitable male lover” for Kristensen.

  • Coming-of-Age
  • Lesbianism
  • Sexuality

Response to Peary’s Review:
As Peary notes, Bilitis is basically soft-core porn packaged as a teenage “coming-of-age sexcapade”; indeed, it contains many porn-film tropes, such as gratuitous lesbian love scenes, a young virgin’s sexual awakening, and a sexually unsatisfied woman’s search for a “suitable” lover. The storyline is ridiculous and “boring,” but at least DP Bernard Daillencourt’s soft-focus cinematography is easy on the eyes. Ephebophiles will have a field day watching countless nubile young women prance about in various states of undress; the rest of us will be distractedly wondering if these girls are really all 18 or older…

Redeeming Qualities:

  • Lush soft-focus cinematography

Must See?
No.

Links:

Naughty Nineties, The (1945)

Naughty Nineties, The (1945)

“Strange as it may seem, they give ball players nowadays very peculiar names.”

Synopsis:
Abbott and Costello try to rescue their friend’s showboat from the hands of some unscrupulous cardsharks.

Genres, Themes, Actors, and Directors:

  • Abbott and Costello Films
  • At Sea
  • Comedy

Response to Peary’s Review:
As Peary notes, while Abbott and Costello’s first period piece “isn’t slickly made” it contains “several of their most famous routines” and remains an “excellent A&C sampler.” The storyline is innocuous but relatively enjoyable, and — most importantly — never interferes with the ongoing litany of gags. Unlike Peary, I didn’t find the scene in which Costello is “hanging over the side of the boat in order to spy on bad guys through their porthole” and ends up causing the “heavily lathered Joe Sawyer” to look into the porthole, “think it’s a mirror,” and “begin to shave off the lather” particularly funny.

However, I was tickled pink by countless other hilarious moments, including Abbott and Costello performing their beloved “Who’s On First?” skit:

… Costello fearfully confronting a plateful of fried “cats”:

… Costello frosting a ramshackle cake:

… and Costello shakily singing “My Bonnie Lies Over the Ocean” in time to Abbott’s stage directions:

Redeeming Qualities:

  • Many amusing skits

Must See?
Yes. While some reviewers disagree, I believe this film is a distillation of Abbott and Costello at their best.

Categories

  • Genuine Classic

Links:

Abbott and Costello Meet Frankenstein (1948)

Abbott and Costello Meet Frankenstein (1948)

“You know that person you said there’s no such person? I think he’s in there… in person.”

Synopsis:
The bodies of Dracula (Bela Lugosi) and Frankenstein’s monster (Glenn Strange) come to life after being delivered to a wax museum, and freight handlers Abbott and Costello are caught up in the commotion that ensues. Werewolf Lon Chaney arrives on the scene to try to prevent Dracula from implanting Costello’s brain into the monster, but is hampered by his troublesome lycanthropy.

Genres, Themes, Actors, and Directors:

  • Abbott and Costello Films
  • Bela Lugosi Films
  • Comedy
  • Frankenstein
  • Horror
  • Lon Chaney, Jr. Films
  • Vampires
  • Werewolves

Response to Peary’s Review:
As Peary writes, while “smug critics often refer to this title to indicate just how low both Universal’s top comedy team and its famous monsters had sunk by 1948”, they’re “wrong on both counts” — indeed, this comedic horror flick is widely considered by most Abbott and Costello fans to be their “finest picture”, given that “their interplay is particularly sharp, [and] their routines are strikingly funny.” Peary points out that it’s “one of the few films to deftly combine horror and comedy,” and notes that horror fans will “appreciate the nifty special effects and make-up” and “find the monsters appropriately frightening.” Refreshingly, the diverse cast of monsters — playing it “straight”, as though they’re in a horror film rather than a comedy — are “treated with respect and affection.”

Redeeming Qualities:

  • Atmospheric sets and cinematography

Must See?
Yes. While it’s not my favorite Abbott and Costello flick (see my reviews of The Naughty Nineties and Buck Privates instead), it’s widely considered to be one of their best movies, and is certainly a highly creative “fusion” venture.

Categories

  • Genuine Classic

Links:

Attack of the Giant Leeches (1959)

Attack of the Giant Leeches (1959)

“I’m goin’ out. Maybe I’ll be back, and maybe I won’t!”

Synopsis:
Giant mutant leeches emerge from the swamps of Florida and imprison the local townspeople in their underwater cave.

Genres, Themes, Actors, and Directors:

  • Deep South
  • Mutant Monsters
  • Science Fiction

Response to Peary’s Review:
As Peary points out, this “sweaty sci-fi” Roger Corman production — taking place in a “southern swamp where super-intelligent giant leeches snatch up unlucky passersby, hang them in their camp lair, still alive, and drain their blood when thirsty” — is “like an early Russ Meyer potboiler (Lorna, Mud Honey) with horror elements.” He points out that “luscious Yvette Vickers” is “sex personified as a trampy married woman” and the film is “worth seeing for her alone”, but it “has other things going for it as well”. He argues that while it is a bit gruesome, it’s also gritty, enjoyably lurid, and creepy”, and is directed with “flair” by Bernard Kowalski. While the production values are low (of course) and the leech costumes ridiculous, this remains an enjoyably campy, “unfairly neglected” B-movie with a “devoted following” and is worth a one-time look.

Redeeming Qualities:

  • Yvette Vickers as the sexy backwoods trophy wife

Must See?
Yes, simply for its status as a cult “bad movie” favorite.

Categories

  • Cult Movie

Links:

Memories of Underdevelopment (1968)

Memories of Underdevelopment (1968)

“Everything happens to me too early or too late.”

Synopsis:
An apolitical bourgeois writer named Sergio (Sergio Carmona Mendoyo) remains in Cuba after the revolution, despite the fact that his parents and ex-wife have fled to America.

Genres, Themes, Actors, and Directors::

  • Character Studies
  • Class Relations
  • Cuba
  • Writers

Response to Peary’s Review:
This enigmatic, complicated film — the first from “post-revolutionary Cuba to be released in the United States” — focuses on one man’s personal attempt to make sense of the rapid changes occurring in his country. Director Tomas Gutierrez Alea draws overt parallels between Sergio’s “underdeveloped” new girlfriend (Daisy Granados):

… the “underdeveloped” nation of post-revolutionary Cuba, and Sergio’s own “underdeveloped” sense of political agency. As Peary notes, it’s “hard for us to figure out Alea’s feeling towards his protagonist” — is he capable of being radicalized? — but Alea’s supplementary use of documentary footage astutely shows “the need for the revolution in Cuba and the need to preserve” its positive changes.

Redeeming Qualities and Moments:

  • A rare portrait of post-revolutionary bourgeoisie in Cuba
  • An eclectic mix of stills, documentary footage, freeze frames, and fictional narrative

Must See?
Yes. This movie holds a special place in Cuban film history.

Categories

  • Historically Relevant

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

Links: