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Month: March 2023

Collector, The (1965)

Collector, The (1965)

“I wouldn’t be a good prisoner if I didn’t try to escape.”

Synopsis:
A deranged butterfly collector (Terence Stamp) kidnaps an art student (Samantha Eggar) he’s had a crush on for years, and keeps her locked up in his basement; will Miranda (Eggar) find a way to escape?

Genres, Themes, Actors, and Directors:

  • Cat and Mouse
  • Kidnapping
  • Obsessive Love
  • Samantha Eggar Films
  • Sociopaths
  • Terence Stamp Films
  • William Wyler Films

Review:
William Wyler’s fourth-to-last film — made before How to Steal a Million (1966), Funny Girl (1968), and The Liberation of L.B. Jones (1970) — was this adaptation of John Fowles’ 1963 novel of the same name. It’s essentially a two-character thriller — a tense tale of cat-and-mouse between an insane misfit and the savvy young woman he mistakenly believes will fall in love with him if given enough time.

What’s fascinating about the storyline is how many different tactics spunky Eggar tries; in the earliest scenes we see her searching deeply into Stamp’s face as she attempts to find the one thing that will allow her to either escape or shift his mind.

Stamp is seriously menacing as a sociopath who views “collecting” Miranda the same way he does his beloved butterflies, never understanding that humans simply can’t be “caught” in the same way.

While it’s a tad overlong and becomes increasingly bleak by the end, this film is well-acted by the two leads and keeps tensions high; it’s worth a one-time look.

Notable Performances, Qualities, and Moments:

  • Samantha Eggar as Miranda
  • Terence Stamp as Freddie
  • Fine cinematography

Must See?
No, though it’s worth a look. Listed as a Cult Movie and a Personal Recommendation in the back of Peary’s book.

Links:

King & Country (1964)

King & Country (1964)

“I just started walking — walking away from the guns.”

Synopsis:
A working class British soldier (Tom Courtenay) during World War I is defended by a compassionate lawyer (Dirk Bogarde) when he’s accused of desertion.

Genres, Themes, Actors, and Directors:

  • Courtroom Drama
  • Dirk Bogarde Films
  • Joseph Losey Films
  • Play Adaptation
  • Soldiers
  • Tom Courtenay Films
  • World War I

Review:
In between helming The Servant (1963) and Modesty Blaise (1966), Joseph Losey directed this adaptation of a 1955 novel by John Lansdale Hodson, which was turned into a play called Hamp. It’s a decidedly bleak tale all-around, with Courtenay posited as a sympathetic if slightly simple-minded young man who volunteered to serve in the Great War, then suffered from PTSD after losing all of his original company members and started wandering back home (i.e., deserting).

As Courtenay expains to Bogarde (assigned to defend him), “Well, I wasn’t really thinking about it, sir, one way or the other. I just couldn’t stand it anymore.” When asked to share more about the recurrent idea of deserting, he states:

“Well, the time this really started going in my head, I got blown into a shell hole. Two of the lads pulled me out with their rifles… I’d seen it happen to a bloke a couple of days before; he slipped off the duck boards into the hole [and drowned in the mud]… I thought it was my lot, see. I was going to drown in it, like he did, sucked into it, fighting it, drowning in it. Oh, after that I couldn’t stand it anymore.”

A central facet of the storyline is that Courtenay’s Private Hamp can’t “say it any different” to Bogarde or others; all he knows is that he needed to get away from “any place [he] could hear guns” though he “didn’t have a plan”, and he admits that his actual walk towards home was “like a dream” and he “didn’t know what was really happening.” Narrative tension is built from wondering how or if Bogarde will be able to help him — and if not, how his company mates will support him. Losey, cinematographer Denys N. Coop, production designer Richard Macdonald, and art director Peter Mullins do an admirable job helping audiences sense the muddy, bleak claustrophobia of the trenches, all through sets:

… and both Bogarde and Courtenay are excellent in their respective leading roles. This isn’t an easy film to watch by any means, but it’s worth a one-time look.

Notable Performances, Qualities, and Moments:

  • Dirk Bogarde as Captain Hargreaves
  • Tom Courtenay as Private Hamp
  • Atmospheric cinematography

Must See?
No, but it’s worth a look if you can stomach it.

Links:

Trial, The (1962)

Trial, The (1962)

“I am sane. I am innocent. I have committed no crime!”

Synopsis:
A bureaucrat (Anthony Perkins) accused of a non-specific crime navigates a nightmarish labyrinth while attempting to engage his lawyer (Orson Welles).

Genres, Themes, Actors, and Directors:

  • Anthony Perkins Films
  • Courtroom Drama
  • Falsely Accused
  • Jeanne Moreau Films
  • Living Nightmare
  • Orson Welles Films

Response to Peary’s Review:
Peary writes that “Orson Welles’s baroque, ambitious telling of Franz Kafka’s comic nightmare” presents “a dark, decayed, distorted labyrinth-like world, not unlike a combination of the setting found in David Lynch’s Eraserhead and Michael Radford’s 1984” — and he adds that “Welles has created a visual tour-de-force that resembles no commercial films of the early sixties but rather the works of surrealists and experimental filmmakers.”



Peary argues that “appropriately, the bizarre events that transpire, all with Josef K. on screen, have the logic of a nightmare,” which is “all fascinating stuff, but you may need four or five cups of strong coffee to make it to the end” — and even by “then you may be hopelessly confused.” I’ll agree that the film feels a bit over-long, and could probably be reduced by half an hour or so (though that would mess with the integrity of the storyline even more than Welles already did) — but I disagree that one feels confused. Rather, the story plays out exactly like the nightmarish series of random encounters it is.

Peary further asserts that if Josef “were more like us and seemed to be disoriented by the strange people he comes across and the strange situation in which he finds himself… then we could empathize more with him;” however, as it stands, “we don’t really know how to react because he doesn’t seem too upset himself.” I once again disagree: Perkins is appropriately haunted and confused for most of the film, just as any of us would be if caught in such a surreal hellscape.

Peary’s analysis of Welles’ adaptation as turning “Kafka’s downer” into “a triumph for Man” — in which “Perkins’s prideful man becomes prideful of being Man” — doesn’t resonate with me either; but then, this is a film that has divided audiences and critics since its inception (and in recent years has been lauded by some as one of his best). Watch for Jeanne Moreau as Josef’s neighbor:

… Elsa Martinelli (star of that same year’s Hatari!) as the wife of a courtroom guard:

… Akim Tamiroff as a doomed client of the lawyer (Welles):

… and Remy Schneider as the lawyer’s lover.

Notable Performances, Qualities, and Moments:

  • Anthony Perkins as Josef K.
  • Highly atmospheric sets and art design
  • Edmond Richard’s cinematography
  • Alexander Alexeieff and Claire Parker’s “pin-screen” animation

Must See?
Yes, as a unique and provocative film by a master director.

Categories

  • Important Director

Links:

Hatari! (1962)

Hatari! (1962)

“Why don’t you find out what kind of a girl I am before you make up your mind?”

Synopsis:
The leader (John Wayne) of a big game capture company in Tanganyika is oblivious to advances made by the beautiful photographer (Elsa Martinelli) visiting their crew; meanwhile, his employee “Pockets” (Red Buttons) is in love with the young woman (Michèle Girardon) who owns the company, but worries that a new French hire (Gérard Blain) will woo her away from him.

Genres, Themes, Actors, and Directors:

  • Africa
  • Howard Hawks Films
  • Hunting
  • John Wayne Films
  • Red Buttons Films

Review:
In between Rio Bravo (1959) and Man’s Favorite Sport? (1964), Howard Hawks directed this romantic action comedy flick set in Africa and featuring baby elephants (alongside plenty of other wild animals). Indeed, the film is essentially an excuse to show numerous safaris to capture animals for zoos — including antelopes, zebras, ostriches, giraffes:

… rhinos (the most elusive and dangerous prize):

… and elephants. A significant sub-plot revolves around Martinelli’s insistence on saving the life of a young elephant whose mother has died, which leads to her caring for several calves:

… and eventually being honored in a terribly awkward ceremony by a local tribe. Which man will win the hand of each of the (conveniently) beautiful young women on hand otherwise takes up the bulk of the would-be storyline, alongside occasional “comedic” interactions between Wayne and Buttons.

POTENTIAL SPOILER

(With Hawks himself age 66 at the time this film was released, is it any wonder the middle-aged men in the cast would somehow have a leg up on the younger, much more handsome candidates?) You truly can skip this one unless you happen to be a Wayne or Hawks completist.

Note: The real-life story of Girardon (best known for her appearance here) is quite tragic.

Notable Performances, Qualities, and Moments:

  • Russell Harlan’s cinematography

Must See?
No; skip this one.

Links:

Great Escape, The (1963)

Great Escape, The (1963)

“We’re going to devote our energies to sports and gardening — all the cultural pursuits as far as they’re concerned. In fact, we’re going to put the goons to sleep. Meanwhile, we dig.”

Synopsis:
Following instructions from an RAF squadron leader (Richard Attenborough), a group of international prisoners of war collaborate in their attempts to escape from a high-security Nazi prison by digging several lengthy tunnels.

Genres, Themes, Actors, and Directors:

  • Charles Bronson Films
  • Donald Pleasence Films
  • Escape
  • James Coburn Films
  • James Garner Films
  • John Sturges Films
  • Prisoners of War
  • Richard Attenborough Films
  • Steve McQueen Films
  • World War II

Review:
John Sturges directed this epic (nearly 3-hour) historical adventure film based on the exploits of a team of Commonwealth POWs who attempted a mass escape from Germany’s Stalag Luft III in 1944. The storyline — co-constructed by six writers — is almost unbearably tense at times, with no illusions that these men will escape unharmed; in fact, we know from history that 50 escapees were murdered after being caught. Thankfully, some did survive — and this is fiction, after all — so we are able to watch events unfolding with curiosity, admiration, and trepidation all at once.

We get to know each of the main characters in part through their given nicknames (which are based on their skill set or proclivities). Attenborough is known as the “Big X” and is the clear leader of all operations; he’s deadly serious at all times, and rightfully so.

Steve McQueen is referred to as “the Cooler King” because he — along with his companion, Angus Lennie’s neurotic “The Mole” — is prone to escaping as often as possible, and being put into the “cooler”.

James Garner is “The Scrounger” given his ability to scrounge up whatever’s needed — including papers from an unsuspecting guard (Robert Graf’s “The Ferret”) who is drawn to his offer of Red Cross-supplied chocolate).

James Coburn is “The Manufacturer” (shown here holding an air pump he designed):

… while Gordon Jackson is “Intelligence” (here he’s mulling over what to do with all the dirt being tunnelled out):

… and David McCallum becomes known as “The Disperser” when he comes up with an ingenious way to disperse of the dirt.

Donald Pleasence is touching as “The Forger”, who eventually deals with additional hardships on top of imprisonment:

… while Charles Bronson has a significant role as the ironically claustrophobic “Tunnel King”:

… whose loyal companion (John Leyton) is also given this appelation. Other highlights of the film include Elmer Bernstein’s instantly recognizable score, good use of location shooting in Germany, and fine attention paid to historical details (including, for instance, how the men repurposed their uniforms to make civilian clothing and other disguises).

This action-packed adventure remains well worth a look, though be prepared for a big time investment. (DVD Savant points out that there probably should have been an intermission at some point, but there isn’t.)

Note: In real life, American POWs only helped with construction of the tunnel rather than escaping, but several big-name actors were included as key characters in order to appeal to American audiences.

Notable Performances, Qualities, and Moments:

  • Fine performances by the ensemble cast
  • Good use of location shooting
  • Daniel Fapp’s cinematography
  • Authentic sets and costumes
  • Elmer Bernstein’s score

Must See?
Yes, as a still-enjoyable classic. Listed as a film with Historical Importance and a Personal Recommendation in the back of Peary’s book.

Categories

  • Genuine Classic
  • Good Show

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

Links:

Castle, The (1968)

Castle, The (1968)

“There’s been a mistake; they say you’re here as a guest.”

Synopsis:
When a man (Maximillian Schell) shows up ready to work as a land surveyor for a local castle, he is met with obstacles and hedging by local villagers.

Genres, Themes, Actors, and Directors:

  • German Films
  • Living Nightmare
  • Maximillian Schell Films

Review:
Maximillian Schell produced and starred in this West German adaptation of Franz Kafka’s unfinished final novel. It’s a decidedly non-linear, nightmarish depiction of a man (“K.”) attempting to simply make his way into a job he’s been called for, but being foiled at every turn by bureaucracy, denial, and idiocy.


To K.’s credit (?), he never blows up at anybody despite his understandable frustration; instead, he simply moves from one spot in the village to another, continuously hoping that the next person he interacts with will provide him access. The snowy landscapes are beautifully desolate, and the interior sets appropriately surreal — however, your tolerance for this one will depend entirely on your interest in entering into Kafka’s bleak worldview.

Notable Performances, Qualities, and Moments:

  • Hertha Hareiter’s sets
  • Wolfgang Treu’s atmospheric cinematography

Must See?
No; only check this one out if you’re curious. Listed as a Cult Movie in the back of Peary’s book.

Links:

Carpetbaggers, The (1964)

Carpetbaggers, The (1964)

“Oh — you dirty, filthy, perverted monster!”

Synopsis:
When a playboy (George Peppard) inherits his father’s fortune, he turns his young widowed stepmother (Carroll Baker) into a movie star; marries and mistreats his business rival’s daughter (Elizabeth Ashley); begins an aviation company; gives a company stockholder (Alan Ladd) work as an actor; tries to buy a movie studio from a producer (Martin Balsam); enlists help from a slimy agent (Robert Cummings); and eventually turns a prostitute (Martha Hyer) into a star — all while ruthlessly accumulating millions and alienating everyone around him.

Genres, Themes, Actors, and Directors:

  • Alan Ladd Films
  • Audrey Totter Films
  • Carroll Baker Films
  • Edward Dmytryk Films
  • George Peppard Films
  • Hollywood
  • Inheritance
  • Martin Balsam Films
  • Millionaires
  • Robert Cummings Films
  • Ruthless Leaders

Review:
Edward Dmytryk directed this big-budget Technicolor adaptation of Harold Robbins’ 1961 novel, loosely inspired by real life celebrities Howard Hawks and Jean Harlow, and well-described by DVD Savant in his capsule overview as a “very entertaining soap ‘n success saga of the kind still celebrated in endless television miniseries about sin and glamour” — a film which “slips in an amusing undercurrent of double entendres and almost-sensational scenes” and “walks a risky tightrope over the pit of censorship.”

Indeed, the material is just salacious and outrageous enough to be mildly amusing — starting with Peppard’s “let’s get busy making money” response to the unexpected death of his father (Leif Erickson):

… and moving quickly to his first sultry encounter with Baker’s beautiful young widow (once Peppard’s girlfriend), then his courtship with Ashley — who is somewhat inexplicably loyal to him (though in the film’s final twisty-turvey ten minutes, we — sort of — learn why).

Alan Ladd was given his last film role as an alcoholic western star and former family business partner, who perhaps serves as Peppard’s voice of conscience:

… though trying to get anything through to Peppard’s seriously hard-headed Jonas Cord is a feat; he ranks among cinema’s ultimate ruthless bastards.

Other than Baker, the most notable performance is given by Cummings, who seems to be having a field day playing a self-serving studio employee who flits throughout the entire screenplay.

Watch for Audrey Totter in a tiny role as the prostitute Peppard turns to after a tragedy.

Notable Performances, Qualities, and Moments:

  • Joseph MacDonald’s cinematography

Must See?
No, though it’s worth the ride if you’re up for it.

Links:

Bedford Incident, The (1965)

Bedford Incident, The (1965)

“I’m proud to be an old-fashioned patriot — and I’d destroy any enemy if it meant saving my country! Now what in the hell is wrong with that?”

Synopsis:
A photojournalist (Sidney Poitier) chronicles the travails of an American destroyer ship helmed by a no-nonsense captain (Richard Widmark) determined to track down a Soviet submarine armed with nukes.

Genres, Themes, Actors, and Directors:

  • At Sea
  • Cold War
  • Journalists
  • Martin Balsam Films
  • Nuclear Threat
  • Richard Widmark Films
  • Ruthless Leaders
  • Sidney Poitier Films
  • Submarines

Review:
Made shortly after Fail Safe (1964) and Dr. Strangelove (1964), this Cold War-era nuclear thriller — based on a novel of the same name by Mark Rascovich — is perhaps most akin to Moby Dick in its depiction of a captain determined to snag his “prey” at any cost; however in this case, allowing a potentially deranged leader to maintain control could result in global annihilation. Poitier is on to Widmark’s profile, wondering why he wasn’t promoted after stellar previous leadership; could it be due to Widmark’s hawk-ish stance during the Cuban Missle Crisis?

Meanwhile, the other men on board the boat (there are no women in this film) all exist in varying states of confusion and/or trepidation; a German NATO attache and former U-Boat commander (Eric Portman) mostly looks on in quiet resignation:

… while the ship’s new doctor (Martin Balsam) is frustrated by lack of meaningful work to do:

… an eager young ensign (James MacArthur) awaits whatever orders he’s given:

… and a sonar man (Wally Cox) slowly cracks up.

It’s nice to see Widmark and Poitier (cast in a role without mention of his race) teamed together again 15 years after their differently tense pairing in No Way Out (1950); they and the supporting cast all give solid performances.

Note: The final minute of this film is unbearably tense and depressing.

Notable Performances, Qualities, and Moments:

  • Richard Widmark as Captain Finlander
  • Sidney Poitier as Ben Munceford
  • Fine cinematography

Must See?
No, though it’s worth a one-time look.

Links:

Alamo, The (1960)

Alamo, The (1960)

“I hope they’re remembered; I hope Texas remembers.”

Synopsis:
Shortly after General Sam Houston (Richard Boone) tells Lt. Col. William Travis (Laurence Harvey) he needs time to build an army to oppose an impending raid by Mexican forces, Travis enlists support from Davy Crockett (John Wayne), Jim Bowie (Richard Widmark), and others in defending the Alamo.

Genres, Themes, Actors, and Directors:

  • Historical Drama
  • John Wayne Films
  • Laurence Harvey Films
  • Military
  • Richard Widmark Films
  • Westerns

Review:
John Wayne directed this Oscar-nominated historical epic about the Battle of the Alamo, agreeing to cast himself as Davy Crockett in exchange for creative control, and spending much of his own money to fund it. The result is an overly long and overly earnest — albeit beautifully filmed — saga, with ample opportunities for Wayne’s Crockett and/or other characters to reflect Wayne’s conservative political views — including love of freedom and individualism. As Crockett says:

“Republic. I like the sound of the word. Means that people can live free, talk free, go or come, buy or sell, be drunk or sober, however they choose. Some words give you a feeling. Republic is one of those words that makes me tight in the throat.”

The historical accuracy of this film’s storyline is apparently less than stellar, with the padded plot simply an excuse to get to the battle scenes. As Bosley Crowther put it in his review for The New York Times:

… [the] representation of the last battle for the Alamo comes after two hours of slogging through some rather sticky Western clichés. The old mission must be defended against the Mexican army coming north. Something to do with freedom. Gen. Sam Houston gives the word. Col. William Travis, the commander, is a tough, snobbish martinet. Jim Bowie hates and distrusts him. Davy Crockett is not quite sure. There are other complicating factors—women, children and such. But, in the end, the fort must be defended, and that’s what everybody does.

Harvey is arguably miscast as Lt. Col. Travis (though apparently he was a professional delight to work with):

… and Wayne and Widmark really should have shifted roles, though this was beyond their control.

Watch for Frankie Avalon in a supporting role as “Smitty”, one of Davy Crockett’s “Tennesseans”:

… and bullfighter Carlos Arruza as a member of General Santa Anna’s army.

Notable Performances, Qualities, and Moments:

  • William Clothier’s cinematography

Must See?
No, though Oscar completists will likely want to check it out.

Links: