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Month: October 2007

Crazies, The / Code Name: Trixie (1973)

Crazies, The / Code Name: Trixie (1973)

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“All hell’s broke loose in town; nobody knows what’s going on!”

Synopsis:
When a madness-inducing biological agent is accidentally dropped by the U.S. government into the water supply of Evans City, Pennsylvania, the military arrives to quarantine the town; but many of its citizens have already started to go crazy from the effects of the virus, and chaos soon erupts.

Genres, Themes, Actors, and Directors:

  • George Romero Films
  • Horror
  • Science Fiction

Review:
Five years after making his auspicious debut film — Night of the Living Dead (1968) — George A. Romero wrote and directed this like-minded tale of a small town struck with mass hysteria; this time, however, rather than relying on a supernatural plot device (zombies), Romero — ever the social critic — places the blame squarely on the U.S. government. In an enormous FUBAR — Vietnam, Iraq, or COVID-19, anyone? — the United States initiates a deadly mess (why would they let a virus without an antidote leave the CDC to begin with?) then completely botches its own efforts to keep Americans safe. Perhaps predictably, it’s up to a small group of “revolutionary” citizens — including a volunteer fireman (W.G. McMillan) and his pregnant girlfriend (sympathetically portrayed by Lane Carroll):

— to escape and defend themselves; but there’s no telling when the virus may catch them as well. Despite its occasionally uneven narrative, this bleak, timely cautionary tale (remade in 2010) is well worth a look.

Redeeming Qualities and Moments:

  • An effective portrayal of paranoia and chaos in the face of government-induced catastrophe
  • Several powerful, shocking scenes — including a priest setting himself on fire, and a grandma calmly stabbing someone to death with her knitting needle

  • Fast-paced editing

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

Categories

  • Cult Movie
  • Important Director

Links:

Romantic Englishwoman, The (1975)

Romantic Englishwoman, The (1975)

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“If I’m going to write him in, I hope to find out what he’s about.”

Synopsis:
While his wife (Glenda Jackson) is away in Baden Baden, a jealous writer (Michael Caine) imagines she’s having an affair with a mysterious man (Helmut Berger) she’s met on the elevator. Soon Berger inexplicably shows up at their house in England, and Caine’s jealousy continues to grow.

Genres, Themes, Actors, and Directors:

  • Glenda Jackson Films
  • Infidelity
  • Jealousy
  • Joseph Losey Films
  • Love Triangle
  • Michael Caine Films
  • Writers

Review:
This disappointing romantic mystery (directed by Joseph Losey) fails to provide much enjoyment on any level. Glenda Jackson is at her shrill worst as a dissatisfied housewife whose husband suspects her every move:

… Caine is adequate at best, and Berger is inexplicably stiff as a shady character whose motivations are never fully explained.

The entire story is framed as a sort of “what’s real? what’s not?” exploration, with Caine’s attempt to generate grist for his new novel conveniently propelling the action — but the central problem is that we simply don’t care much about any of these characters or their affairs of the heart.

Redeeming Qualities and Moments:

  • Fine production values

Must See?
No; this is definitely one of Losey’s lesser efforts, and not worth seeking out. Listed as a Cult Movie in the back of Peary’s book.

Links:

Conquest of Space (1955)

Conquest of Space (1955)

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“According to the Bible, Man was created on the Earth. Nothing is ever mentioned of his going to other planets. Not one blessed word.”

Synopsis:
When the deeply religious leader (Walter Brooke) of a groundbreaking expedition to Mars begins to view the journey as blasphemous in the eyes of God, it’s up to his level-headed son (Eric Fleming) to preserve the lives of the remaining crew members: a Japanese botanist (Benson Fong), a loyal Irish sergeant (Mickey Shaughnessy), a Brooklynite electrician (Phil Foster), and a scientist (Ross Martin).

Genres, Themes, Actors, and Directors:

  • George Pal Films
  • Mental Breakdown
  • Religious Faith
  • Science Fiction
  • Space Exploration

Review:
Riding on the success of his earlier sci-fi hits — Destination Moon (1950), When Worlds Collide (1951), and The War of the Worlds (1953) — animator George Pal produced this tepidly received space exploration flick, which the New York Times referred to as “nothing more than broad, undemanding entertainment”. Unlike Destination Moon, Conquest has a rather far-fetched psychological plot embedded into its narrative, one which allows for a philosophical-cum-religious inquisition into the ethics of space travel: should Earth-born men really be venturing into the unknown, potentially “godless” universe? Unfortunately, Brooke’s sudden religiosity doesn’t ring true (it smacks soundly of “plot device”), and neither do the interactions between the other stereotypical characters on board the ship (Phil Foster’s “Noo Yawker” is particularly egregious). With that said, it’s refreshing to see a pre-“Star Trek” sci-fi film with an Asian cast member; as long as you ignore Fong’s notoriously wrong-headed speech early in the film, he’s a welcome presence.

Redeeming Qualities and Moments:

  • Some visually nifty — albeit technically crude — special effects
  • Martin’s corpse drifting surreally into space
  • The fiery red Martian landscape
  • The welcome presence of a Japanese man (Benton Fong) who’s treated as an intelligent equal

Must See?
No, but fans of George Pal’s work will certainly be curious to check it out.

Links:

Chinoise, La (1967)

Chinoise, La (1967)

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“One must replace vague ideas with clear images.”

Synopsis:
A group of French university students — Veronique (Anne Wiazemsky), Guillaume (Jean-Pierre Leaud), Yvonne (Juliet Berto), Henri (Michel Semeniako), and Kirilov (Lex De Bruijn) — share a bourgeois apartment over the summer while studying Maoism and planning terrorist revolt.

Genres, Themes, Actors, and Directors:

  • French Films
  • Jean-Luc Godard Films
  • Revolutionaries
  • Terrorists

Response to Peary’s Review:
As Peary notes, La Chinoise may well be “one of Jean-Luc Godard’s most interesting political works”. He infuses the seemingly dry subject matter with stunningly stylized visuals (every shot is strategically framed, and primary colors literally pop off of the screen), and treats his characters with both respect and irony, making it clear how troubled their idealistic yet naive ideology really is. Indeed, since the act of violent terrorism carried out near the end of the film is treated so casually, it’s literally impossible to take these students’ actions too seriously. Unfortunately, the last ten minutes or so of the film — in which we’re inexplicably introduced to new characters — dilute the finale; but given Godard’s penchant for illogical narrative sequencing (he once famously said, “A story should have a beginning, a middle and an end, but not necessarily in that order”), this is perhaps to be expected.

Redeeming Qualities and Moments:

  • A unique glimpse at young revolutionaries avidly pursuing knowledge about Maoism
  • Leaud demonstrating a theatrical technique used by a Maoist to make a political point
  • Stark, close-up framing, often with Chinese posters in the background
  • Creative use of vivid, contrasting primary colors as backdrops
  • An effective juxtaposition of words and visuals to relate a particular time and attitude
  • Many memorable images
  • Typically Godardian mise-en-scene and an “interrupted”, disorienting musical score

Must See?
Yes. While a little of Godard goes a long way, I think all film fanatics should watch this tongue-in-cheek political fable.

Categories

  • Important Director

Links:

In Praise of Older Women (1978)

In Praise of Older Women (1978)

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“All the girls I know are absolutely weird… They don’t want to make love with me. I’ve tried everything! I guess I just don’t understand women.”

Synopsis:
A Hungarian philosophy student (Tom Berenger) enlists the help of his married neighbor (Karen Black) in losing his virginity, then continues to pursue a string of “older women”, including a revolutionary (Susan Strasberg), a repressed divorcee (Alexandra Stewart), and a married faculty wife (Helen Shaver).

Genres, Themes, Actors, and Directors:

  • Canadian Films
  • Coming-of-Age
  • May-December Romance
  • Susan Strasberg Films

Review:
This tedious coming-of-age sex romp — starring a young, buff Tom Berenger — was notorious at the time of its release for showing a fair amount of nudity and simulated sex; the story itself, however, leaves much to be desired. Starting in post-war Hungary (where everyone apparently spoke American English, without an accent), the film follows the travails of horny Andras (Berenger):

… who discovers that older women — rather than virginal co-eds — are the ticket to sexual bliss; it’s a mildly intriguing premise, but one which never develops into anything more complex. Andras’s first (mutual) “conquest”, Karen Black, is by far the most interesting female character in the film:

… but after Andras cruelly cheats on her, she’s out of the picture. The central problem is that Andras simply isn’t a very likable character — he’s a player, and not ashamed to admit it, but why should we care about him or his life?

Redeeming Qualities and Moments:

  • Karen Black as Andras’ first “older lover”

Must See?
No; skip this one.

Links:

Beau Serge, Le (1958)

Beau Serge, Le (1958)

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“Francois, listen to me – you’ve got to do something. Help me!”

Synopsis:
A college student with tuberculosis (Jean-Claude Brialy) returns to his hometown to get some rest, and discovers that his childhood friend, Serge (Gerard Blain), has become an alcoholic.

Genres, Themes, Actors, and Directors:

  • Claude Chabrol Films
  • French Films
  • Friendship

Review:
Le Beau Serge (“Handsome Serge”) was arguably the first film to emerge from the French New Wave movement. Directed by former Cahiers du Cinema critic Claude Chabrol, it’s a deeply personal, character-driven portrait of the tensions inherent in “returning home” after spending years away. The story centers on Francois’s concern for his childhood friend, Serge, who has descended into drink after the stillborn death of his retarded son; despite the imminent arrival of another child by his loyal wife (Michele Meritz), Serge refuses to sober up and live responsibly. Francois is determined to help his friend “see the light”, and eventually sacrifices his own health for the sake of Serge’s happiness; meanwhile, a local sexpot (Bernadette Lafont) is raped by her stepfather, yet Francois’s noble attempt to intervene once again falls flat.

In characteristic New Wave style, the narrative in Le Beau Serge is rather loose, with more of an emphasis on characters, setting, and philosophical contemplation than straightforward action. While it’s never made clear exactly why Francois is so determined to “save” his friend, it’s hinted that he may be driven by a sentiment of “there but for the grace of God…” — indeed, rural life in the film is depicted as narrow and limited, with sexy Marie (Lafont) channeling all her energy into the pursuit of men, and Serge giving up his dream of an architecture career for life as a husband and truck driver. Does Chabrol intend for us to pity the lives of these “simple” characters? It’s hard to tell, but the film’s baroquely allegorical ending — which posits Francois as a sort of Christian martyr — seems to label the townsfolk as somehow needing salvation. Despite its narrative flaws and ambiguities, however, Le Beau Serge remains an oddly compelling character study, one which clearly demonstrates Chabrol’s passion, talent, and dedication to the craft of filmmaking.

Note: Chabrol returned to the theme of country-versus-city in his next film, Les Cousins (1959), in which country-boy Blain comes to stay with his more urbane — and infinitely less sympathetic — cousin (Brialy) in Paris.

Redeeming Qualities and Moments:

  • Jean-Claude Brialy as Francois
  • Gerard Blain as Serge
  • Michele Meritz as Serge’s pregnant wife, Yvonne
  • Bernadette Lafont as Marie
  • Effective use of Chabrol’s hometown (Sardent) as a setting

Must See?
Yes, for its cinematic importance. Listed as a film with historical importance and a Personal Recommendation in the back of Peary’s book.

Categories

  • Historically Relevant
  • Important Director

Links:

Big Sky, The (1952)

Big Sky, The (1952)

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“It sure is big country; the only thing bigger is the sky.”

Synopsis:
In the 1830s, frontiersmen Jim Deakins (Kirk Douglas) and Boone Caudill (Dewey Martin) meet up with Boone’s Uncle Zeb (Arthur Hunnicutt) in St. Louis, and join a group of mountain men led by “Frenchy” Jourdonnais (Steven Geray). Hoping to trade with Blackfoot Indians by safely delivering their kidnapped princess Teal Eye (Elizabeth Threatt) to them, the trappers head west along the Missouri River; their plans are complicated, however, by the presence of hostile Crow Indians, and by members of a rival fur trading company who hope to capture and use Teal Eye for their own purposes.

Genres, Themes, Actors, and Directors:

  • Howard Hawks Films
  • Kirk Douglas Films
  • Native Americans
  • Westerns

Review:
Based on a bestselling novel by A.B. Guthrie, Jr., this unusual western effectively evokes both the danger and the excitement of life for fur trading “mountain men” — pioneers of early American history not often portrayed in films (1972’s Jeremiah Johnson — also listed by Peary — is a notable exception). Grizzly Arthur Hunnicut (who deserved his nomination as Best Supporting Actor) narrates the film, and, despite Kirk Douglas’s top billing, emerges as its central figure; but Douglas’s performance is equally impressive, and beautiful Elizabeth Threatt (half-Cherokee in real life) is surprisingly dignified and effective as Teal Eyes — it’s too bad this was her only film.

Dewey Martin as Douglas’s younger “partner” is the least impressive of the bunch, and his anachronistically gleaming leather pants — especially in contrast with the film’s overall attention to historical detail — are enormously distracting; one can’t help feeling he was cast simply to provide a hunky heartthrob.

Of primary interest to film buffs, however, will be the presence of director Howard Hawks’ characteristic trademarks: realistically overlapping dialogue, an undercurrent of homoeroticism between Douglas and Martin (those pants!), and his depiction of the male traders as hardworking and loyal. While it’s overlong by at least half an hour, The Big Sky remains a satisfying adventure tale by one of America’s great directors, and should be seen by all film fanatics.

Note: Martin’s rolling tussles with beautiful Teal Eyes are unexpectedly racy — as is the surprising tepee scene near the end of the film.

Redeeming Qualities and Moments:

  • Arthur Hunnicutt’s Oscar-nominated performance as Uncle Zeb
  • Kirk Douglas as Jim Deakins
  • Russell Harlan’s cinematography

Must See?
Yes, for Hunnicutt’s Oscar-nominated performance.

Categories

  • Important Director
  • Oscar Winner or Nominee

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

Links:

Knack… and How to Get It, The (1965)

Knack… and How to Get It, The (1965)

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“If you ask me, they’re a new breed of characters altogether.”

Synopsis:
An insecure teacher (Michael Crawford) who desires his womanizing tenant’s (Ray Brooks) “knack” with women thinks getting a bigger bed might help his luck; while at the dump with his new housemate (Donal Donnelly), he meets a naive young girl from the country (Rita Tushingham), who Brooks immediately puts the moves on — with unexpected consequences.

Genres, Themes, Actors, and Directors:

  • Charlotte Rampling Films
  • Comedy
  • Play Adaptation
  • Richard Lester Films
  • Rita Tushingham Films
  • Sexuality
  • Womanizers

Review:
In between his two feature hits with The Beatles — A Hard Day’s Night (1964) and Help! (1965) — Richard Lester helmed this dated, irritating sex farce, based on a 1962 play by Ann Jellicoe. Michael Crawford (future star of “Phantom of the Opera”) is annoyingly high-strung as the film’s simpering protagonist, and the script isn’t any better: the sexual double-entendres (Crawford is convinced his “bed” is too small) are juvenile at best, while Lester’s humorous treatment of imagined rape in the final section of the film is extremely discomfiting. Only the appealing Tushingham:

— with her thickly-lined eyes and gapped teeth — and zany non-conformist Donnelly (a refreshingly non-sexualized counterpoint to Crawford and Brooks):

make the story bearable. The Knack… is primarily known today for showcasing Lester’s unique cinematic style — including faux fantasy sequences, over-dubbing, jump-cut editing, and zany slapstick — but these innovations ultimately come across as tedious rather than energizing; you’re better off (re)watching A Hard Day’s Night instead.

Redeeming Qualities and Moments:

  • Rita Tushingham as Nancy
  • Tushingham, Crawford, and Donnelly shamelessly rolling a bed across the streets of London

Must See?
No. While it holds historical importance as winner of the Golden Palm at Cannes, this tedious comedy is best avoided altogether.

Links: