FilmFanatic.org

Synopsis:
In Victorian England, philanthropic Dr. Jekyll (John Barrymore) experiments with a drug which changes him into the vile, hedonistic “Mr. Hyde” — but he soon finds himself unable to control his transformations, thus putting his own life in danger.

Genres:

• John Barrymore Films
• Mad Doctors and Scientists
• Multiple Personalities
• Silent Films

Review:
This early silent version of Robert Louis Stevenson’s classic novella The Strange Case of Dr. Jekyll and Mr. Hyde is regarded by many as one of the best. Unfortunately, John Barrymore’s flamboyant performance in the title role(s) is overly melodramatic, and his transformation from Dr. Jekyll to Mr. Hyde is more campy than frightening; at least he seems to be having a field day playing the nefarious Mr. Hyde — assisted by creepy make-up and prosthetics, he truly does come across as evil nature incarnate. Also of note is the brief appearance of Nita Naldi — the “female Valentino” — as a dance hall singer who turns on Dr. Jekyll’s lust; her initial outfits are shockingly risque.

Redeeming Qualities and Moments:

• A well-told, archetypal tale of good versus evil
  
• Nita Naldi as the sexy singer who first tempts Dr. Jekyll’s “baser” nature
  
• Effectively freaky make-up on “Mr. Hyde”
  
• Artistic intertitle cards
  

Must See?
Yes, simply for its historical significance.

Categories

• Historically Relevant

Links:

• IMDb entry
• Classic Horror Review

Synopsis:
Whilst a serial killer known as “The Avenger” is murdering blonde women throughout London, a mysterious lodger (Ivor Novello) arrives at the home of landlords Marie Ault and Arthur Chesney and their grown daughter Daisy (June Tripp). Novello falls for Daisy, but her jealous boyfriend (Malcolm Keen) — a police detective — is convinced that Novello may be The Avenger, and begins to investigate the case.

Genres, Themes, Actors, and Directors:

• Hitchcock Films
• Jack the Ripper
• Love Triangle
• Murder Mystery
• Serial Killers

Review:
Despite having helmed at least two earlier movies (1925’s The Pleasure Garden and 1926’s now-lost The Mountain Eagle), Alfred Hitchcock considered The Lodger — based on Marie Belloc Lowndes’ Jack the Ripper-inspired novel — to be his “true” directorial debut. While it possesses many elements of Hitch’s soon-to-be-signature style, however, it suffers from overly broad acting (Novello was a matinee idol, not a thespian) and terribly slow pacing. Like John Brahm’s 1944 remake (starring Laird Cregar), it’s both highly atmospheric and visually inspired (see stills below) — but also narratively flawed, given that there aren’t really any other suspects in sight. The Lodger only remains must-see viewing due to its status as an early outing by Hitchcock, and as a precursor to Brahm’s superior version.

Redeeming Qualities and Moments:

• A reasonably suspenseful tale of murder and romance
  
• Some cleverly framed shots
  
• Atmospheric cinematography
  

Must See?
Yes, but only for its significance as one of Hitchcock’s earliest signature works. Listed as a film with historical importance and a Personal Recommendation in the back of Peary’s book.

Categories

• Historically Relevant
• Important Director

Links:

• IMDb entry
• Jigsaw Lounge Review
• TCM Article (spoiler alert)
• Time Out Capsule Review

Synopsis:
After Myron Breckenridge (Rex Reed) undergoes a sex change operation and becomes Myra (Raquel Welch), she visits an acting school owned by her uncle Buck (John Huston), pretending to be the “deceased” Myron’s widow in order to receive half of his estate. Meanwhile, Myra plots “the destruction of the American male in all its particulars” by blackmailing a studly young acting student (Roger Herren) and sending him into the clutches of aging casting director Leticia Van Allen (Mae West).

Genres, Themes, Actors, and Directors:

• Actors and Actresses
• Black Comedy
• Gender Bending
• John Carradine Films
• Mistaken or Hidden Identities
• Raquel Welch Films
• Revenge

Review:
A notorious turkey from the moment it went into production, this big-budget adaptation of Gore Vidal’s satirical novel is, as noted in Toxic Universe’s review, both “hypnotically awful” and “audaciously dreadful”. British writer/director/performer Michael Sarne — whose debut film was the quirky Joanna (1968), starring Genevieve Waite — was recruited to helm the pic, but immediately clashed with both producers and stars about how to proceed; the result is a hyper-surreal pastiche which won’t make much sense to those who haven’t first read Vidal’s novel.

With that said — since I have read the novel, fairly recently — I must say I was pleasantly surprised by Breckinridge; it may be over-the-top, but it’s never boring, and Sarne’s post-modern insertion of vintage film clips at key moments (he was sued over several of his selections) is inspired. Welch — dressed in a series of fun 40’s-era outfits, including hats — almost seems to be channeling the spirit of Joan Crawford in her bitchily determined attitude, and John Huston at the very least seems to be having fun. Film critic Rex Reed (a non-actor) is the worst of the bunch, but doesn’t damage the proceedings too badly.

What really elevates this flick to must-see status, however, is the presence of aging diva Mae West as a horny septuagenarian casting director with a foul mouth and a surprising amount of sexual allure — ya’d think she’d come across like simply a parody of herself, but she’s remarkably well-preserved, and so sincere in her efforts to carry the show (complete with a “show-stopping” musical number) that one can’t help enjoying her efforts. See below for just one of her hilarious quips, which had me laughing out loud again and again.

Note: Myra Breckenridge was voted one of the “fifty worst films of all time” by the Medved brothers in their 1978 book.

Redeeming Qualities and Moments:

• 73-year-old Mae West as Leticia Van Allen
  
• Raquel Welch as Myra
  
• John Huston as Uncle Buck
  
• Leticia singing “Hard to Handle” while surrounded by a bevy of African-American male dancers
  
• Theodora Van Runkle’s ’40s-inspired costumes
  
• Inspired use of vintage film clips
  
• A harsh skewering of gender norms
  
• Effectively stylized sets and visuals
  
• Mae West drawling countless hilarious lines:
  

  Leticia Van Allen: How tall are you without your horse?
  Aspiring Male Star: Well, ma’am, I’m six feet seven inches.
  Leticia Van Allen: Well, never mind about the six feet — let’s talk about the seven inches.

Must See?
Yes, for its notoriety as a camp classic.

Categories

• Cult Movie
• Historically Relevant

Links:

• IMDb entry
• DVD Savant Review
• T.V. Guide Review

Synopsis:
Domineering housewife Harriet Craig (Joan Crawford) lies to her unsuspecting husband (Wendell Corey) and treats her faithful cousin Celia (K.T. Stevens) like a personal secretary; but when Harriet interferes with her husband’s chance for promotion — and Celia’s chance for marriage with a well-meaning suitor (William Bishop) — she’s finally called on her lies and manipulating tactics.

Genres, Themes, Actors, and Directors:

• Character Studies
• Henpecked Husbands
• Housewives
• Joan Crawford Films
• Play Adaptations
• Wendell Corey Films

Review:
Harriet Craig is the third cinematic adaptation of George Kelly’s 1925 stage play Craig’s Wife — filmed first in 1928 by William C. de Mille, and then in 1936 by Dorothy Arzner — and is one of many vehicles in which Crawford essentially plays a version of herself. In this case, she’s a neurotic, manipulative woman who uses others for her own needs, and cares more about maintaining a perfect house than promoting the happiness of its inhabitants (anyone who’s read Christina Crawford’s memoir Mommie Dearest, or seen the movie version, will immediately recognize shades of Joan in Harriet). The story itself, unfortunately, is less convincing: while it’s hinted that Harriet’s sway over her husband (Corey is perfectly cast) is primarily sexual, it’s still tough to imagine that he would remain deluded about her pathological tendencies for so many years; and his shift from adoration to contempt is far too sudden. Similarly, Celia’s blind devotion to Harriet — despite whatever favors Harriet did for her years earlier — beggars belief; and Harriet’s desire for status and wealth is at odds with how desperately she tries to prevent her husband’s promotion. Despite its narrative flaws, however, Harriet Craig remains worth a look simply for its status as a prototypical Crawford flick.

Note: A more apt title for the film would perhaps be Harriet’s House — indeed, the house itself is a central character.

Redeeming Qualities and Moments:

• Joan Crawford as Harriet (check out the flame lapels)
  
• Wendell Corey as Walter
  
• Allyn Joslyn as Walter’s friend Billy
  
• A disturbing portrait of a housewife whose need for control jeopardizes her marriage
  

Must See?
No, but it’s certainly worth a look.

Links:

• IMDb entry
• NY Times Original Review
• TCM Article
• Austin Chronicle Review (scroll down to second review)
• T.V. Guide Review

Synopsis:
Detective Harry Glass (James Westmoreland) investigates a rash of violent murders committed by a trio of motorcycle-riding thugs; soon he learns that a greedy undertaker (Ray Dannis) and his two restaurant-owning friends are behind the gruesome killings — and that the female corpses are being served as Specials of the Day.

Genres, Themes, Actors, and Directors:

• Black Comedy
• Cannibalism
• Horror
• Mad Doctors and Scientists
• Serial Killers

Review:
At just a little over an hour, this trashy gore-fest (reminiscent of both Herschell Gordon Lewis and Ted Mikels’ work) is surprisingly easy to handle — which is not to say that it’s very good. No, the acting, special effects, and storyline are just as sub-par as one would expect, and there are far too many awful slapstick sequences inserted for no good reason at all; yet the tongue of director T.L.P. Swicegood (pseudonym, anyone?!) seems firmly in cheek, and each scene — even bloody slaughters of nubile young women — is bathed in a glow of humorous unreality. Perhaps I’m being overly generous, but this one’s not quite as bad as you would think.

Redeeming Qualities and Moments:

• Colorful low-budget sets
  
• The amusing closing sequence, in which every character who’s died comes back to life
  
• Plenty of tongue-in-cheek, twisted humor — as when a photo of a sailor keeps changing expressions during his girlfriend’s bloody murder
  

Must See?
No, but any fans of trash cinema will certainly want to check it out.

Links:

• IMDb entry
• BadMovies.org Review
• Spinning Image Review

Synopsis:
On the night before his longtime lover (John Bolger) is due to depart for a job in Africa, Michael (Richard Ganoung) visits his HIV-positive friend Nick (Steve Buscemi) and must confront Bolger’s true motivation for leaving.

Genres, Themes, Actors, and Directors:

• Death and Dying
• Get Togethers and Reunions
• Homosexuality
• New York City

Review:
Parting Glances — the only film writer/director Bill Sherwood made before his death from AIDS in 1990 — is beloved by many as one of the most authentic representations of gay life in 1980s New York. Unfortunately, however, it never manages to transcend its low-budget indie roots: the supporting characters (including an overweight “troll” and a fag hag) are stereotypical, the acting is (mostly) amateurish, and the script seems forced (particularly near the end). It’s primarily worth watching to see Steve Buscemi in his first major screen role — he already shows evidence of his unique cinematic presence.

Redeeming Qualities and Moments:

• Steve Buscemi as Nick
  
• A heartfelt — if not entirely successful — portrait of friendship and loyalty in the early days of AIDS
  

Must See?
No, though it’s worth a look simply for historical purposes.

Links:

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

Synopsis:
A young orphan (Sean Marshall) escapes from his abusive caretaker (Shelley Winters) with his magical pet dragon Elliott (voiced by Charlie Callas) in tow. Upon his arrival in the town of Passamaquoddy, Pete (Marshall) meets up with a tippling lighthouse keeper (Mickey Rooney) and his grown daughter Nora (Helen Reddy), who provide him with shelter; meanwhile, a traveling elixir salesman Dr. Terminus (Jim Dale) and his assistant (Red Buttons) find out about Pete’s dragon, and try to purchase him for their own nefarious purposes.

Genres, Themes, Actors, and Directors:

• Animated Features
• Con-Artists
• Fantasy
• Friendship
• Mickey Rooney Films
• Musicals
• Orphans
• Red Buttons Films
• Shelley Winters Films
• Small Town America

Review:
This disappointing live action/animation flick fails to live up to Disney’s previous successes in the genre. Technically, it’s sloppy: Elliott’s interactions with Pete never seem realistic (Sean Marshall’s sight lines are off just enough to make it look like he’s talking to the sky), and Elliott’s presence on-screen is inconsistent: sometimes he takes up corporeal space and causes invisible havoc, while at others he’s treated like a vaporous ghost. He’s inexplicably absent from the screen for most of the film, but isn’t very charismatic even when he does show up. His childish babbling is annoying, and — rather than being a helpful friend — all he does is get Pete into trouble; he’s like a less intelligent, green iteration of Barney.

Fortunately, the live actors try their best with the tepid material they’re given. Helen Reddy is fine as the warm-hearted Nora, and Jim Dale is great fun as Dr. Terminus; his is the best performance in the film by far. Fearless Shelley Winters — looking like the ultimate greasy hillbilly — should have been given more screen time; instead, her character simply shows up at the very beginning and very end of the already over-long (2 hours-plus) film. Sean Marshall as Pete is enthusiastic and smiles a lot, but isn’t the greatest of child actors, while both Mickey Rooney and Red Buttons have done much better work elsewhere. The songs are relatively catchy but forgettable, and simply drag out the story (the one exception is Jim Dale’s scene-stealing, early rendition of “Passamashloddy”). Ultimately, Pete’s Dragon will only be of interest to those who have fond memories of watching it as kids; it’s certainly not must-see viewing.

Redeeming Qualities and Moments:

• Jim Dale as Dr. Terminus
  
• Helen Reddy as Nora
  
• Shelley Winters as Lena Grogan
  

Must See?
No; it’s not clear to me why Peary lists this disappointing flick in his book.

Links:

• IMDb entry
• NY Times Original Review
• Ultimate Disney Review
• Moria Review
• Time Out Capsule Review