FilmFanatic.org

Synopsis:
Prostitutes in a Japanese brothel work to support their children, husbands, and fathers.

Genres, Themes, Actors, and Directors:

• Feminism and Women’s Issues
• Japanese Films
• Kenzi Mizoguchi Films
• Prostitutes

Review:
In his final film, Kenji Mizoguchi once again shows enormous sympathy for the plight of women in patriarchal Japanese society. Like its virtual companion piece, A Geisha / Gion Bayashi (1953) — but unlike most of Mizoguchi’s better-known films — Street of Shame takes place in the present, and showcases the difficulties Japanese women continue to face in terms of survival and self-support. A simple ensemble tale of five prostitutes is punctuated by ongoing news of a governmental initiative to delegitimize their profession; yet Mizoguchi wisely refrains from passing judgment on this sticky societal dilemma. While prostitution is clearly shown to debase these women — and is viewed by one (bespectacled wife and mother Michiyo Kagure) as an option only marginally better than suicide:

— it is nonetheless the only way they can earn enough money to pay off their debts, which range from a father’s bail bond, to medication for a TB-ridden husband, to a simple desire for fancy clothes and jewelry.

There are many powerful moments in this at-times didactic, yet still consistently moving, film. My favorite has the mercenary Yasumi (Ayako Wakao) running into one of her regular Johns at a cafe while he is eating with his family, being introduced as his secretary, and giving him a sly wink when leaving.

A particularly painful scene shows aging widow Yumeko (Aiki Mimasu) stopping to eat some noodles on her way to visiting her son, making herself presentable in the mirror, and being told snidely by the restaurant’s nursing proprietor, “You can wipe off your rouge, but not the makeup of your trade.”

Perhaps the most startling scene shows tough, sexy young Mickey (Machiko Kyo) — who never stops eating, dancing, or shopping — propositioning her own father in angry defiance of his request that she come home and stop debasing their family name.

While Mickey — a hip and sassy girl in her American pedal-pushers — appears to be eagerly embracing prostitution as a way of life, she, too, has skeletons in her closet which have led her down this tenuous, socially-caustic career path.

Redeeming Qualities and Moments:

• Nuanced performances by each of the five lead actresses
  
• Many powerful, heartbreaking moments
  
• Fine cinematography and sets
  

Must See?
Yes. Mizoguchi’s final film — listed as a Personal Recommendation and a movie with historical importance in the back of Peary’s book — should be seen by all film fanatics.

Categories

• Foreign Gem
• Important Director

Links:

• IMDb entry
• Time Out Capsule Review

Synopsis:
When his wife (Janet Warren) leaves town for a few days, a professor (Hans Conried) finds his new television set acting very strangely.

Genres, Themes, Actors, and Directors:

• Aliens
• Arch Oboler Films
• Hans Conried Films
• Robots
• Satires and Spoofs
• Science Fiction
• Television
• Time Travel

Review:
This quaint sci-fi curio by Arch Oboler — a former radio scriptwriter who directed the first post-apocalyptic cautionary film, Five (1951) — is badly dated in many ways, but its premise — a mobile television set is inhabited by a time-travelling alien which fiercely protects its “owner” (Conried) at any cost — remains intriguing. As with Five, Oboler is once again remarkably prescient: at a time when television sets were still a brand-new fixture in Americans’ homes, he effectively lampoons their tendency to literally “take over” one’s life, utilizing the metaphor of TV-as-alien-entity to show just how powerful the agency of this seemingly innocuous “entertainment box” can be.

While the satire in Twonky is never fully developed — it devolves into unfortunate slapstick by the final scenes, and the Twonky’s ultimate nefarious purpose on Earth isn’t revealed — I’ll admit I was impressed by Oboler’s attempt to skewer the mind-numbing qualities of television long before it became commonplace to do so. Indeed, when the Twonky hypnotizes everyone around it into drawling, “I have no complaints,” one can’t help admiring this time-travelling creature for so accurately “predicting” its future role…

Redeeming Qualities and Moments:

• A clever satirical premise
  
• Hans Conried’s unintentionally campy performance as the put-upon Professor West
  
• Billy Lynn as West’s well-meaning football-coach friend
  

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

Categories

• Cult Movie

Links:

• IMDb entry
• SciFilm Review

Synopsis:
An ambitious man (Zachary Scott) from a lower-class home alienates and betrays everyone around him during his rise to power — including his best friend Vic (Louis Hayward) and childhood sweetheart (Diana Lynn).

Genres, Themes, Actors, and Directors:

• Class Relations
• Edgar G. Ulmer Films
• Flashback Films
• Greed
• Louis Hayward Films
• Raymond Burr Films
• Rise-and-Fall
• Sydney Greenstreet Films
• Tycoons
• Zachary Scott Films

Review:
Edgar G. Ulmer’s B-level variation on Citizen Kane (one of his few higher-budget films) suffers from both a predictable plot and the surprisingly lackluster performance of its lead character (Scott), whose expression never varies and whose cold affect keeps the audience at arm’s length rather than allowing us to see what makes him tick.

Diana Lynn (sweet and effective) gets it just right when describing Vendig (Scott) in the final line of the movie: “He wasn’t a man; he was a way of life”; ultimately, then, Vendig is meant to represent an archetype rather than a flesh-and-blood character, and the film’s overall emotional charge suffers for it. Interestingly, recent critics seem to find something of greater worth in this “pulp poetry” than I did.

Redeeming Qualities and Moments:

• Diana Lynn as Martha/Mallory
  
• Louis Hayward as Vic
  

Must See?
No, though film fanatics may be interested in seeing Ulmer’s variation on Citizen Kane.

Links:

• IMDb entry
• Time Out Capsule Review

Synopsis:
A former child preacher (Marjoe Gortner) returns to the Revivalist circuit in order to expose the hypocrisy of money-grubbing evangelists.

Genres, Themes, Actors, and Directors:

• Christianity
• Con Artists
• Documentary
• Missionaries and Revivalists
• Religious Faith

Review:
This award-winning documentary-expose will inevitably cause you to cringe, for more reasons than one. While the blatant manipulation of Christians’ faith for profit is undeniably disturbing, we’re by now overly familiar with, for instance, Jim and Tammy Faye Bakker’s corrupt Praise the Lord ministry, among other notorious religious scams. Even more upsetting is watching the attention-seeking Marjoe blithely conning the entire religious community into thinking he still believes what he preaches; while this smooth-talking young man eerily lacks any kind of an overt grudge against his parents for what they put him through (he laughs good-naturedly when discussing his hellish childhood), he ultimately shows himself to be a not much better specimen of humanity, perpetuating the lies he once believed himself.

Filmmakers Sarah Kernochan and Howard Smith do an admirable job capturing the fervent zeal of the Revival congregationalists: their cameras are so close-up at times — circling and whirling with the heaven-sent parishioners — that it’s easy to believe you’re right there with them. Yet I shudder to think about the resentment these naive folks must have felt when seeing themselves up on the big screen, clearly being manipulated from every side. It’s this element which makes Marjoe so much more disturbing to watch than, for instance, either The Miracle Woman (1931) or Elmer Gantry (1960), two fictional films about the Revival racket; at least the extras in those movies were paid for their time, rather than being jilted out of both their money and their pride.

Redeeming Qualities and Moments:

• A fascinating glimpse — through historical footage — of three-year-old Marjoe’s proselytizing power
  
• A groundbreaking expose of the hypocrisy of Revivalism
  

Must See?
Yes. While disturbing and over-long, this Oscar-winning film remains must-see viewing.

Categories

• Historically Relevant
• Oscar Winner or Nominee

Links:

• IMDb entry
• Time Out Capsule Review

Synopsis:
While being hypnotized by Dr. Morey Bernstein (Louis Hayward), housewife Ruth Simmons (Teresa Wright) experiences a past life as Irishwoman Bridey Murphy.

Genres, Themes, Actors, and Directors:

• Louis Hayward Films
• Mind Control and Hypnosis
• Past Lives
• Teresa Wright Films

Review:
In 1956, Dr. Morey Bernstein published a best-selling book about his experiences with the medical use of hypnosis, as well as his unintentional past-life regression of housewife Ruth Simmons into a 19th century Irishwoman named “Bridey Murphy”. This film adaptation of Bernstein’s book comes across as overly talky and hopelessly dated (when Simmons asks her husband for “permission” to be regressed, for instance, nobody bats an eye), yet surprisingly entertaining in its own limited way. Regardless of your beliefs concerning the possibility of past lives, it’s fascinating to watch the supine Simmons — well-played by a short-haired Teresa Wright — conjuring up the mundane details of “her” existence 150 years earlier. Simmons’ words are taken directly from the original transcripts of her sessions with Bernstein (published in the book), and are all the more convincing for their lack of overt drama — Simmons-as-Murphy “remembers” dancing a jig, being punished for peeling paint off her bed as a child, and wandering the heavens after her death.

Unfortunately, despite its title, very little time in the film is spent actually searching for “Bridey Murphy”; given the wealth of details Bernstein pries out of Simmons, I expected a lengthy detective hunt in Ireland, and some kind of a resolution (however dissatisfying) to the mystery of this young woman’s existence. Instead, the film’s denouement centers on the melodramatic issue of whether or not Simmons will be able to snap out of her final regression — thus emphasizing once again the film’s moral that hypnosis is a “powerful force”, and not to be taken lightly.

Redeeming Qualities and Moments:

• Teresa Wright’s compelling performance as Ruth Simmons and “Bridey Murphy”
  
• The surprisingly effective “flashback” scenes of Bridey’s life in Ireland
  

Must See?
No. This curiosity is very much a product of its time, and will only be of interest either to fans of Teresa Wright or believers in past life regression.

Links:

• IMDb entry
• Moria Review
• SciFilm Review

Synopsis:
Three sideshow performers — Echo the ventriloquist (Lon Chaney, Sr.), Hercules the strongman (Victor McLaglen), and midget Tweedledee (Harry Earles) — team up as con artists, calling themselves “The Unholy Three”.

Genres, Themes, Actors, and Directors:

• Con Artists
• Falsely Accused
• Lon Chaney, Sr. Films
• Silent Films
• Thieves
• Tod Browning Films
• Ventriloquism
• Victor McLaglen Films

Review:
This silent thriller — remade as a talkie in 1930, starring Lon Chaney, Sr. in his final role — is primarily known today as Tod Browning’s thematic precursor to Freaks (1932). Both star midget Harry Earles; both feature a strongman named Hercules; and both deal with sideshow performers who decide to take revenge on “normal” society. Beyond these surface similarities, however, the films differ quite a bit: while Freaks celebrated its circus misfits as a collective group who were content as long as they were respected, The Unholy Three presents the performers as exploited and dissatisfied, eager to use their skills or differences for criminal gain.

While it’s not an entirely successful film, there is much to recommend about The Unholy Three: Earles is particularly creepy here (and more effective than in Freaks) as a twenty-year-old man who can easily pass as a squalling baby; and Lon Chaney turns in yet another stellar performance as both Echo and the stoop-backed, bespectacled “Granny O’Grady”. Unfortunately, however, some major flaws detract from the film’s overall impact. While the trio’s decision to open a parrot shop is a clever play on Echo’s ventriloquism skills, it’s ultimately a silly and contrived way to go about scamming money. In addition, meek shop assistant Hector (Matt Moore) plays an essential part in the film’s plot, yet his presence in the parrot shop doesn’t make logical sense. Finally, a giant chimpanzee emerges for no good reason at the end of the film, other than to kill a key character. Despite its problems, however, this remains an eminently watchable, well-acted thriller, one which showcases Browning’s unique vision, and is thus worth viewing at least once.

Redeeming Qualities and Moments:

• Lon Chaney, remarkably convincing as both Echo and “Granny O’Grady”
  
• Harry Earles, effectively creepy as a twenty-year-old “baby”
  
• A brief glimpse at Browning’s fascination with circus sideshow performers
  
  

Must See?
Yes. Though it’s not nearly as compelling as Browning’s later masterpiece, this movie holds a special place in film history.

Categories

• Historically Relevant

Links:

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

Synopsis:
A diabetic ex-boxer (Red Buttons) and his grown daughter Della (Alice Playten) investigate the mysterious murder of a hooker named Mary.

Genres, Themes, Actors, and Directors:

• Amateur Sleuths
• Murder Mystery
• Prostitutes and Gigolos
• Red Buttons Films
• Sam Waterston Films
• Sylvia Miles Films

Review:
Who Killed Mary What’s “Er Name? passed under the radar of most movie-goers during its theatrical release, but gained a small following when it aired on late night television — the perfect venue for this stylish whodunit starring likeable comedian Red Buttons:

… baby-faced Alice Playten (whose arched eyebrows make her look perpetually astonished):

… and “Diff’rent Strokes”‘ Philip Drummond (Conrad Bain) in an early role.

While it isn’t particularly ground-breaking or unique, this film does possess a surprising amount of suspense, charm, and atmosphere. Director Ernest Pintoff (who seems to enjoy tricky camera work) pays tribute to Antonioni’s Blowup (1966) in a subplot about an aspiring filmmaker (Sam Waterston), whose footage of Mary right before her death may provide clues to her murder. He also makes effective use of seamy New York locales and characters (check out his close-ups of odd-looking old ladies):

to evoke a world where anyone may be a suspect, for any number of reasons.

Redeeming Qualities and Moments:

• Red Buttons as the do-gooding amateur sleuth
  
• Sylvia Miles, perfectly cast as Buttons’ whore-with-a-heart-of-gold neighbor
  
• An impressive array of potential suspects — including an obsessive young filmmaker (Sam Waterston), a religiously fanatic African-American landlord (Dick Anthony Williams), and a priggish John (David Doyle)
  
  
• Effective use of seamy New York locales
  
• Clever camera work

Must See?
No, but it’s a good little thriller which deserves a remastered release onto DVD.

Links:

• IMDb entry

Synopsis:
A rash of gruesome murders at a circus owned by ringleader Monica Rivers (Joan Crawford) brings a Scotland Yard detective (Robert Hardy) onto the scene to investigate.

Genres, Themes, Actors, and Directors:

• Carnivals and Circuses
• Joan Crawford Movies
• Murder Mystery
• Serial Killers
• Strong Females

Review:
This disappointing murder mystery — best known for starring a well-preserved 63-year-old Joan Crawford — ultimately provides few genuine thrills, and fails to live up to its campy potential. While Crawford is clearly enjoying playing yet another “strong female” — an independent woman who easily attracts and beds men of all ages — the script simply doesn’t do her character justice. And though the identity of the serial killer is nearly impossible to guess, this is less a function of cleverly written suspense than of outright improbability; revelations are tossed out in the final scenes of the movie which make little sense given what’s come before. Unlike in Tod Browning’s masterful Freaks (1932), the scenes in this film involving circus “misfits” — including a bearded lady, a “skeletal man” (whose body is never shown!), and a midget — are exploitative and badly written.

In addition, the occasional scenes showing various circus animal acts go on too long, and don’t fit in with the thrust of the narrative; given that this is a story about backstage machinations, we really don’t need to see so much of the circus itself — though I’ll guiltily admit that the poodle act was my favorite scene in the entire film.

Redeeming Qualities and Moments:

• Still-sexy Joan Crawford, doing her best in a sub-par movie
  
• The circus poodle act — ultimately more interesting than the rest of the film!
  

Must See?
No. I’m not sure why Peary lists this as a “must see” in the back of his book — I’m assuming it’s because of Crawford’s late-life performance, but you’re better off watching her in true camp classics such as What Ever Happened to Baby Jane? (1962) or Strait-Jacket (1964).

Links:

• IMDb entry
• NY Times Original Review
• SciFilm Review
• Hysteria Lives! Review

Synopsis:
A group of people on a hurricane-ridden island try to escape before they are attacked by voracious mutant shrews.

Genres, Themes, Actors, and Directors:

• Horror
• Mutant Monsters
• Scientists

Review:
This campy, super-low-budget Mutant Monster flick (the directorial debut of special effects guru Ray Kellogg) possesses a relatively clever sci-fi premise and a few moments of atmospheric tension, but ultimately doesn’t offer quite enough laughs or thrills to mark it as a true “bad movie” classic. The ridiculously amateur-looking giant shrews (puppets in close-up, rug-covered dogs in action scenes) prevent one from feeling any credible sense of horror, instead simply provoking sniggers, rolled eyes, and yawns. In the back of his book, Peary lists Killer Shrews as a Camp Classic, which makes sense — it’s been lampooned fairly effectively by the MST3K crew — but also as a Sleeper, which mystified me until I read Shane Burridge’s review (no longer available online), in which he defends it as a “decent, economical piece of film-making” which “overcomes its limitations by confining its events to one set, using sound effects (the constant wind), lighting, and editing to create atmosphere.” Unfortunately, these elements weren’t enough to win me over; I enjoyed reading creative lampoons of this flick (see, for instance, the Stomp Tokyo review) much more than actually watching it.

Redeeming Qualities and Moments:

• Occasional camp value from spectacularly ridiculous dialogue, costumes, special effects, acting, and overall situations
  

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

Categories

• Cult Movie

Links:

• IMDb entry
• BadMovies.org Review
• Stomp Tokyo Review